ARTS The Michigan Daily Wedne asday, October 13, 1982 Page 5 Groovin' with Rushen By Mare Hodges P ATRICE Rushen burst onto the stage of the Power Center Monday evening with the explosive musical talent that is so characterisitc of her style. If you were unfortunate enough to miss the show, either preempted with midterm studies or just suffering from the Monday-night-blues, then you missed a performance not soon to be forgotten. Dancing across the stage in a flashy turquoise mini-skirt with beaded braids flying behind, Rushen opened with an enthusiastic "The Funk Won't Let You Down." The uncertain reception of the audience turned into hand-clapping ap- proval and dancing in the seats as Rushen and her eight-man, one-woman back-up band established a funky beat that was maintained throughout the en- tire performance. Rushen kept this fast pace rolling through the next four numbers, which included two singles from her latest LP Straight From The Heart, "I Was Tired of Being Alone" and "All We Need." She slowed it down with sweet vocals for a mellow "Settle for My Love," af- ter which she unleashed an enthusiastic "Never Gonna Give You Up," one of her earlier hits. By this time the crowd was groovin' along with the funky beat. Rushen never let them down, despite the fact that she was to perform two shows in one evening. Since this was Rushen's first appearance in Ann Arbor, she ex- pressed her gratitude to her loyal fans and dedicated to them a seven-song medley of her most popular hits ("and near misses" as Patrice so humorously put it). Such hits as "Look Up" and "Haven't You Heard" were woven in with slower tunes such as "When I found You" and "Changes (In Your Life)" which blended together well to display Rushen's musical versatility. The band then broke into an in- strumental arrangement, during which Rushen introduced the members, each of whom performed a solo. Included in Rushen's band was background vocalist Roy Galloway, co-producer of "I Was Tired of Being Alone" and "Remind Me," off her latest LP. Following the introductions, Rushen seduced the audience with a romantic' version of the latter of these two ,songs, during which she performed her own solo on the electric piano, an excellent, display of her talent enhanced by the acoustically superior auditorium. After an hour and a half of displaying her powerful vocals and instrumentals through a thirteen song set, Rushen tied' things up with her most popular hit to date, "Forget Me Nots." This was the song that brought the audience to their. feet, begging for more. Rushen reap- peared to perform the encore "This Is All I Really Know," a beautiful love song that ended the dynamic perfor- mance on a sweet note and sent the audience into a standing ovation. E.TOE.T. It's E.T. squared at the State Fair of Oklahoma in Oklahoma City. Life-sized stuffed versions of the million-dollar star will be used for prizes at the Fair's midway. A " By Jerry B T WO STAND Lfilled the Ua night for perfor Griffin Quartet eventh annive first concert. Griffin's thre Arbor have b distinguished c warm rappor developed with strates once a tribution that E music scene in Griffin, the " sax, is firmly *radition of Cha Stitt. One of the jazz, Griffin's complex, forma and exciting. Technically, and while he ca peggios effortle perhaps even m inobtrusive litt he uses to embe lines, little clus Subtle contour feature of style old masters lik few younger p stand the tas requires: Griff with the exqu details of a four Griffin's me Monk and Bud from bebop's v *ies. Monk, the enigma, taug volumes of ha mazing saxop rabenec sophistication, all wrapped in a decep- tive facade of naivete and humor. Bud Powell played piano with the Young )ING-room-only crowds Turks of bebop, Charlie Parker and 'nion Ballroom Saturday Dizzy Gillespie, and pushed Griffin to rmances by the Johnny heights of high speed virtuosity while , in celebration of the impressing on the saxophonist a deep rsary of Eclipse Jazz' respect for the emotional subtleties of old standards like "Body and Soul." ee appearances in Ann The only real problem with Saturday een highlights of this night's performance was its location- oncert series, and the the Ballroom-held there due to the rt that Griffin has Union's renovation. Music tends to local audiences demon- bounce around in "this large, again the special con- acoustically live room, and as a result ,clipse has made to the the drums were slightly overbearing, Ann Arbor. while the bass lacked clarity and little giant" of the tenor definition. Bassist Peter Barshay was rooted in the bebop further hampered by a distortion in the arlie Parker and Sonny PA system that made many of his more greatest technicians in powerful lines sound like some sort of solos are extended and acid rock. ally polished, expressive The group seemed slightly nervous during the opener, a very fast "Autumn Griffin is prodigious, Leaves." Barshay is a new addition to n crank off runs and ar the group, having spent the last couple ssly at, blinding tempos, of years with alto saxophonist Richie nore impressive are the Cole, and is still finding his niche in the le ornaments and frills tight interplay between pianist Ronnie ellish his medium tempo Matthews and drummer Kenny sters of notes that lend Washington. "Autumn Leaves" s to the melody. This featured some extra chords that turned e identifies Griffin with sections of the tune into cascades of e Parker, and there are notes, and Griffin stepped right out, in layers who can under- complete command even at this furious ste and virtuosity it tempo. Drummer Washington turned in fin's solos are tailored an imaginative solo that built fragmen- uisite proportions and ts of rhythm up into rhythmic hundred dollar suit. paraphrases of the melody reminiscent ntors were Thelonius of Max Roach. d Powell, two pianists Following "Autumn Leaves" was a anguard back in the Fif- Thelonius Monk tune entitled "Trinkle master of whimsy and Tinkle." This number places a melody ht Griffin unwritten full of deceptively complex ornaments armonic and rhythmic over an amiable, moderate tempo, phone musicfrom Johnny Griffin capping off the chorus with a cheerful little cadence figure. Griffin's solo was at times complex, at times easygoing and gruff in the manner of Monk's other longtime saxophonist, Charlie Rouse. Pianist Matthews followed with a solo that was one of the night's highlights, keeping to a simple, funky mood while sticking close to the 'contours of the tune, demonstrating a deep understan- ding of Monk's unique piano style. Grif- fin stood in the wings during the other solos, watching attentively and clap- ping along. . The classic Coleman Hawkins vehicle, "Body and Soul," followed the Monk number. An ornate, florid piano introduction led into the melody, played in the old style without the alternate chords introduced by John Coltrane in his re-interpretation of this jazz monument. Griffin's solo led the crowd through a variety of moods, sometimes abstract, other times unabashedly romantic, before the rhythm section dropped out and Griffin went on into an unaccompained cadenza. Running a gamut of arpeggios, quotes, and runs full of shifted accents in the manner of Charlie Parker, Grif- fin tossed in phrases from "Over the Rainbow" and punctuated his lines with vocal exclamations and grunts, then stood grinning in feigned amazement at the crowd's enthusiastic response. The rhythm section generated the ex- citement next, with bass and drums constructing rhythmic counterpoints to Matthew's piano solo, which featured quotes from "Surrey with the Fringe on Top." The evening's closer was a tour of the blues, from "Blue Monk" to "Things Ain't what They Used to Be," ending up with another long stretch of high speed straight ahead cruising. Griffin held the stage briefly after the set, telling the audience to support jazz, calling it the music of the street, music of Chard times, but you have decided to THE DAILY CLASSIFIEDS ARE A GREAT WAY TO GET FAST RESULTS CALL 764-0557 feel good in spite of whatever." He pointed out that these are hard times for jazzers, saying that the ubiquitous "They" are out to suppress jazz, and that "musicians are running across deserts for their lives, or the prairies, oir the lakes when they're frozen, or whatever.. .," but that the music is an influence on the world, and that "positive vibrations will emanate from the building and help all the Ayatollahs." On the basis of his show Saturday night, nobody can say Johnny Griffin isn't doing his share to keep those good vibrations flowing. 'I'. you de tadaN t a break Wmconaldis ca The 'Ceie . -7--- -MO 4' z... (" /7{ utu kfi N Where to lu McDONALD'S® OF MAYNARD STREET HAS SPECIAL OFFERS JUST FOR YOU! SUNDAY BRUNCH (7:00 - 11:30 A.M.) s With purchase of Hotcakes seconds on Hotcakes free! and Sausage - receive * Free refills on coffee. SUNDAY NIGHT DINNER SPECIAL If a ft% _N_ %dVw -4: