ARTS Tuesday, November 23, 1982 The Michigan Daily Page 7 Gabriel gets monkey off back SEE THE clay man. Look at the little man of clay. Dance little clay man, dance. Sing scream wail, clay man. See the criminal man. Look at the lit- tle man of crime. Dance, little criminal man, dance. Sing scream wail, criminal man. See the shaman man. Look at the lit- tle man of magic. Dance little shaman, dance. Sing scream wail, little shaman man. See the phallic man. Look at the little man of phallus. Dance little phallus, ... And yet again By C. E. Krell dance. Sing scream wail, little phallic man. See the rock star. Look at the little star of rock. Dance little star, dance. Sing scream wail, little rock star man. The opening band was called the Electric Guitars. And we had fun fun fun fun fun till Daddy took the Guitars away. They dress funny. They dance funny, too. Hey, though, they were fun fun. Though they aren't going to spread anew the fissure of modern music, and have little apparent psychoexistential supply side economic intrinsic meaning, they made a smile. The bass/drums made things go soft. And the keyboard/guitar melted onto the then soft. Soft; is all right. But what about all that stuff at the beginning of this piece which you see didn't have anything at all to do with the Electric Guitars but really was talking about Peter Gabriel about whom the rest of this review will be ex- cept for one other being. There exists a beingness who didn't appear on stage. I've really got to know who or what pulls those ropes for that Gabriel fellow. It's sort of unnerving to watch someone contort and eeeek in the ever worn yet often macabre costume of the Cracked Actor. The convincing thing though was that Gabriel was convincing in most of these croissant thanks al parte del band. El band joined Peter's Puppet Parade- wait, make that the thing(?) yanking him-with a commitment towards en- tertainment and philosophical deployment that made at least one song from all them solo albums a very high light indeed: "Solsbury Hill," "On the Air," "Not One of Us," "Kiss of Life." Shaking from utter fear of the next utterance of the face-painted Cosmic Channel through which the High Power was channeling a strength of show, worry beset me re: my future. Was I too to be doomed to the fate of being mastered? And then though Peter Gabriel sud- denly would let the plane pane of plastic pain plain down and this healthy looking Saturday night Bath-er would smile, leap, and jump for Joy, Tony Levin the Bassman, David Rhodes the Guitarman or even the Audienceman. It wasn't "dig me, I'm a rock star" it was "I'm a rock star, and I've come to 'Shock the Monkey'-grip with it." I mean who could look on the cover of P.G. III and say "Well, shit Irv, this guy's sort of genial and amusing." So I thought that everything was going to be okeydokey. But soft; what manifestation through yon spotlight breaks? It is the sign language, and it is the mode of song introduction. I really must meet god, because I assume that's who is running this machine guy on stage. It would be ridiculous to assume that everything that happened was just ososoopermarvy. Owe this then to the fact that there weren't enough ingredients to construct the muchos layered strawberry shortcake album thickness. Translation: only five people making aural stimulation designed and created and produced and brought to you by and developed by whole bunches of peoples. I really enjoyed the Peter Gabriel concert with special guest the Electric Guitars. I jumped around and said yay a lot. Clay man changed man estranged man stranged man rearranged man deranged man Tappan Micro home on the range man. It's not my fault that I run out of things to say. The End. i Daily Photo by DAVID FRANKEL Peter Gabriel "Shocks the monkey" at his Saturday performance in Hill Auditorium Ragtime gig rattles those keys By Knute Rife AKE LIET knows how many peo- ple, shoehorn them into a church, bring on School of Music pianists Bill Albright, Bill Bolcom, and Jim Dapogny, saxophonist Don Sinta, and soprano Joan Morris, stir in a large ~;dosage of the music American grew up on, and what do you get? Fun. Sunday evening had a jazz-ragtime bash slated at the Unitarian Univer- salist Church. There was jazz and there -was ragtime, but the performers wandered far and wide on the musical map before coming back home. No, one complained. Albright introduced Bolcom and Dapogny as his "compatriots in ragtime crime." I get a bit nervous when academics approach jazz. They tend to do so in hushed tones and ivory- tower styles. These guys have a sense of humor. They didn't embalm and en- shrine the music, they just played it as it lay. They made quite a threesome: Dapogny, the technician, Bolcom, the performer, and Albright, the bridge between the two. Albright started the show with Scott Joplin's "Euphonic Sounds," just to make sure that we got to hear some Joplin. Dapogny then boogie-woogied his way through several pieces in- cluding "The Fives." Dapogny often accompanies Sippy Wallace. Wallace's brothers wrote "The Fives," so Dapogny gets to play it the way it was intended rather than the way it was written. Bolcom came out and played "a bit of genteel fluff." One piece, "The Gon- doliers," was indeed genteel, spunding, like a piano accompaniment to some old silent film. Albright returned for a set which in- cluded "Peace and Plenty," dedicated "to the success Reagonomics has had." Morris and Sinta joined in for "That Saxophone Rag" written in 1914 by a pair of University students named Fix- nel and Grosner. This paean to the saxophone interspersed with corny jokes and featured Sinta's sweet tones and Morris' faculty for selling a song. After intermission, Albright reopened the program with James P. Johnson's "Yamecraw: A Rhapsody." Intended as a black answer to Gersh- win's "Rhapsody in Blue," the piece never achieved popularity. Sunday night's performance may have been the first in the past 40 years, except for Albright's performance at a Unitarian service a couple of months ago, that the piece has been played in public. Dapogny returned for a set which in- cluded Johnson's "Snowy Morning Blues" and Fats Waller's "Ain't Misbehavin'." Bolcom and Morris teamed up again for some crowd pleasers like "Blue Skies" and "These Foolish Things," then brought Sinta back on to help them with The Coaster's "Yakkity-Yak." Sinta had a little trouble getting enough slop into his style to match the mood of the piece. Bolcom and Morris then went camp country and western with their com- position "Tears at the Happy Hour," a hilarious satire of the genre. The concert was indeed fun, with a lot of "bop til you drop" pieces. This also made it rather fun to watch the audien- ce. There were a lot of upper-middle class types in monogrammed sweaters or herring-bone tweed trying to decide whether or not to get down. Even the more straight-laced in the audience threw decorum to the winds when Albright, Bolcom, and Dapogny all returned to play "When the Saints Go Marching In." This Fats Waller arrangement of "Saints" featured Bolcom and Dapogny taking turns on piano with Albright playing the theme on pipe organ. Possibly the most incredible keyboard duet of all time (with "in- credible" used in its purest sense), it wasn't smooth, but who cared? The bash was not technically per- fect; in fact, there were several train wrecks. But such is the nature of the beast. Bashes are meant to be cobbled together on the spot and lose a lot if they are too planned. This was Morton, not Mozart; spontaneity the key, not struc- ture. There had to be sympathy., verve, humor, and a certain amount of pan- ache. There was. Daily Photo by ELIZABETH SCOTT Borodin Trio -free as the wind Pop contortions1 Singer Michael Stipe (left) gyrates to the energetic pop of guitarist Peter Buck and R.E.M. last Sunday night at Joe's Star Lounge. The concert also featured a guest appearance by guitarist Peter Holsapple (not shown) of the dB's. By Lauris Kaldjian LIKE THREE trees moved by one wind was the Borodin Trio's performance in Rackham Auditorium last Saturday evening. Whether swaying in a gentle breeze or raging in a gale the three Were rooted in the same rich soil that nourished their fresh, in- vigorating music. viRostislav Dubinsky, a believer in the conservation of momentum, produced dulcet tones from his violin that belied his generally staid appearance. His wife, pianist Luba Edlina, provided sensitive accompaniment and convin- cing solo lines. Cellist Yuli Turovsky, the most physically expressive, poured his whole being into each phase that he offered to the audience. Having not previously heard the Borodin Trio, I was surprised to hear with what assurance and understan- ding they played. When their combined histories are considered (prior to becoming expatriots of Russia in 1976) it is clear that there is an explanation for their finely tuned ensemble. Their experience in the western world is comparatively short but they are gaining a deservedly fine reputation. The Trio executed each nuance with practiced anticipation. But expected anticipation runs the risk of growing stale. The Borodin Trio eliminates this risk by remaining spontaneous. V1 kin o's copies -u eox90 The first half of their program was taken up by a work that covers the gamut of emotional expression, Tchaikovsky's Trio in A minor, Op. 50. This work lies close to their roots in its Russian passion; it is imbued with the severe warmth and volatility of a weighty character out of Dostoevsky. The Tchaikovsky opens with a Pezzo elegiac( replete with flowing dialogue between the violin and cello who toss- back and forth the lines of a beautiful soaring melody.tThe piano pronounces a second melody that resounds with golden dignity. The second movement, Terna con rariazioni, utilizes both the possibilities of variations (manipulation of theme until barely recognizable) and the facilities of a piano trio. The last movement, Variazione finale e code, ends with the strings drifting away and the pulsating dominant-to-tonic bass of the piano finally ceases leaving the listener with a despondent, worn feeling. The Trio's rendition of this expan- sively Romantic work was powerful. The diversity of the moods that were created wrenched the heart from one emotion to the next. Brisk pizzacati created a playful atmosphere that of- fered comic relief from the pervading gloom. The Borodin Trio recreated this music in living, visible color. The remainder of the program con- sisted of Schubert's Trio in E flat major, Op. 100, another of his remarkablydnumerous works con- taining melodies that linger in the mind as if to savor them the more. The movements are marked Allegro, Anantetor t l, Scherzo: allegro inoderato, and Allegro mnoderato. The work was performed with a superb sense of rhythm in a controlled Romantic setting. In both Allegros the string spiccato passages were tightly knit together. The piano could have been firmer in solo lines to equal the solo strings. The Scherzo was rendered as a celebration of life-sincere, sim- ple, and thankful. By far the most memorable movement of the Schubert was the An- dante with its sublime, minor theme in- troduced passionately by the cello. It is a searching, lonely melody with diminishing traces of hope that mar- ches onward with grave determination. This same theme cleverly returns in the fourth movement to haunt us again. In- terspaced throughout the Andante is a second theme in a major mode that uplifts the spirit and offers hope to the despair of the first theme. At concert's end the members of the Borodin Trio looked jaded and yet ap- preciative. This, no doubt, was the result of giving so completely their gift of music to the audience. Their unanimous exhaustion testified to their common spirit; one that combines each into one while allowing each other the freedom to move as the wind. Read and Use Daily Classifieds Subscribe to The Michigan Daily HOUSING DIVISION/ LS&A For Winter Term 1983 RESIDENT ADVISOR AND GRADUATE STUDENT TEACHING POSITION AVAILABLE in the PILOT PROGRAM/ALICE LLOYD HALL Individuals must come to 1500 S.A.B. to update application presently on file. 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