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February 15, 1983 - Image 7

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The Michigan Daily, 1983-02-15

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The Michigan Daily

Tuesday, February 15, 1983

Page 7


By James McGee
WALKING IN on the first set per-
formed by the Sun Messengers
last Saturday evening, a person might
have expected an evening of big band
jazz . . . but this was not the case.
The evening began with two selec-
tions of big band swing to open the first
set. An effort was made to spark the
audience with a three minute drum
solo; however, it might have been
somewhat more successful if the subtle
rhythms in the solo could have been
: brought out more. As it stood, the com-
plexities in the solo weren't fully ap-
pieciated by the audience.
-With the opening jazz numbers com-
pZllete and the audience in. a rather
Wi e low mood, the Messengers "had the
:Dint jumpin' " with a Latin piece by
w Prez Prado. The Latin rhythms were
-well undertaken by the percussion see-
lion which featured Akunda Lumunba
n congas.
It seemed a bit strange to follow such
-" festive tune with a depressing blues
:iiumber. "Unemployment Blues," an
original piece, fell short of expressing
the real pain and discouragement in
blues tunes of this sort. Yet it had the
{flair and sassiness of a Johnny
Paycheck original. For this as well as
the other blues tunes performed by the
- Messengers, it seemed as if the syles
was extrinsically copied rather than the .
mood expressed.
Aire Straits-'Twisting
by the Pool' EP
-Warner Bros.)
y Happy Days hit Mark Knopfler! The
hInan just a few months ago embroiled in
:'private investigations" lets the dress
Drop and skitters out with some public
tun and an exquisite dance EP.
w: The first time I laid the stylus down I
%thought, there must be some mistake.
Mrusical sociologists don't sing, You're
*going to look so cute/Summer
,lasses and a bathing suit just one
:tlbum after proclaiming Some blame
w "

Before the second set began, the band
announced the death of jazz great
Eubie Blake, and dedicated the next
number to his honor. But the tribute
was a poor selection for com-
memorating the southern jazz and
ragtime Eubie stood for and devoted his
life to. Entitled "New Waif Blues," the
tune was simply an arrangement of bar
transitions from hypertensive new
wave to original blues phrases-enter-
taining and musically clever, but out of
The Messengers attempted to revive
the dance mood with the performance
of a Mardi Gras number. Although the
effort was successful, the festive spirit
so characteristic of the Mardi Gras was
somewhat lacking.
The audience was pleased by the
blues solos on harmonica and guitar.
But a little more soul and a lot less high
pitched blare would have been ap-
propriate. Most of the solo work,
however, was performed by the guys in
the sax section. The overall favorite of
the night was David;Reinstein (Dr.
Rock N. Stein) on tenor sax who was
well deserving of applause he received.
The power behind his solos, especially
as he approached the higher registers,
is unbelievable. His style was a com-
bination of jazz, rock, swing and honky-
tonk, all with a lot of energy and ex-
pression. Much of the solo effort by the
band took a while to get off the ground,

but once a more relaxed and concen-
trated effort was applied, the blueis feel
that haunts much of the music of the
Messengers became apparent.
The third set brought the evening to a
close with a medley of easy listening
jazz arrangements and a few funk R &
B selections. Once again, sax solos by
Reinstein and baritone saxophonist
Rick Steiger set the mood for slow dan-
ce, cool drinks, and light conversation.
It was disappointing not to have
heard more solo work on trombone. A
slight overextension of the rhythm sec-
tion along with a failure to project
helped hide the flavorful and spirited
"bone" solos. The funk jams were
original but lacked the overriding
thumb-thump bass lines that give these
tunes a funk sound.
The final selection was a Latin swing
arrangement played with a jazzy feel.
Some of the enthusiasm had gone out of
the percussion section, but the horn and
sax sections were alive and tight. The
Messengers concluded this piece by
bringing their instruments and lively
sound out into the audience.
The music of the Sun Messengers is
best described as clever and in-
novative, but at times a little burdon-
some to sit through. Nevertheless, they
come across with a good sound and
tight arrangements which made an
evening of drinks and conversation en-

rhe Guarneri String Quartet made their audience feel "rignt at nome" at IacKham astunuayn u'i y allyVy A,
concert with skill and friendly assurance.
Guarneri: Wit and skill

By Lauris Kaldjian
AS THE MEMBERS of the Guar-
neri String Quartet filed on stage
at Rackham Auditorium last Sunday
afternoon, they gazed out at a mass of
quietly expectant faces. Modestly
acknowledging the audience, the dark-
suited ensemble casually tuned their
instruments. Sensing the musicians'
casual confidence, the faces relaxed
and prepared for a formidable concert
of Brahms and Beethoven.
Both Brahms quartets were played
with a blend of sound uncommonly rich.
The Quartets in A minor, Op. 51, No. 2,
and in C minor, Op. 51, No. 2 were per-
formed with constant energy that would
wax and wane on the surface according
to the nature of each phrase. Even
amidst the complexities of the Quartet
No. 2, where each man seemed to be on
his own, therearose an impressive unity
from the aggregate individual lines.
The Brahms Quartet No. 1 had a for-
ward motion in the allegro that clearly
defined the music's direction without a
change in tempo, a pervasive charac-
teristic of their playing. Throughout
this work, phrases were anticipated by
each member of the ensemble with care
and reciprocation.
Though part of an earlier genre,
Beethoven's Quartet in F major, Op.
135 was played with no less energy, but
its passion was more controlled. The
Guarneri showed an innate rhythmic
ability throughout the pulsating, 6/8
metered rirace. The lento assai was
truly sweet and tranquil; accom-

paniments enhanced solo lines and
smooth, crystal-clear chords whispered
with marvelous simplicity.
The Guarneri Quartet played con-
sistently with fresh abandon that bears
witness to their long association. The
inner voices (second violin and viola)
were as noticeable as the outer ones;
too often they are merely filler, and
noticed only when absent.
Gesticulations were in response to the
music, not extraneous affectations.
Pizzicati resounded in fulness, staying
clear of trite "snap-crackle-pop"s.
Most importantly, the ensemble played
with a mind of its own.
During the intermission, I was able to
get a brief interview with the members
of the quartet: Arnold Steinhardt, John
Dalley, Michael Tree, and David Soyer.
Their inviting stage presence is an
extension of their friendly natures.
They are a jovial group and eager to
Though the drudgery of travel is oc-
casionally bothersome, they never tire
of actually sitting down to play. One
would think that disagreements might
make playing in such a closely knit en-
semble difficult. But when differences
of interpretation arise, the matter is


the management some the em-
ployees/And everybody knows it's
the Industrial Disease.
That's true; Springsteen does it. Lots
of people draw parallels between
Springsteen and Knopfler. They're
both a little pretentious, they're both
superb musicians (Knopfler having
long succeeded Eric Clapton as about
the best guitarist around), they both
have fine backing ensembles (note
Dire Straits' percussion switch from
Pick Withers to former Rockpiler Terry
Williams), and so forth.
Twisting is no Nebraska, however,
and it's no River either. It is a collec-

tion of four very divergent songs,
ranging from the big bopper titlestrack
complete with two reprises, to the jazzy
witticisms of "Badges, Posters,
Stickers, T-shirts," to the Dylanesque
"If I Had You." Anyone who balked at
the quasi-seriousness of Love Over
Gold will find Twisting a refreshing
change of pace. People like me who
thought the last album just fine will get
a kick and a whole lotta funs from this
out-of-;season-but-who-cares beach
dance party.
-Ben Ticho

discussed and various approaches ire
used in performance. "In the e'nd
something works out," says fiasst
violinist Arnold Steinhardt. The over-
bearing first violinist is archaic, and
Steinhardt emphasizes their equality:
"There is no leader. It is a democratic
And theirs is a model of democracy
whose experience and mastery have
given them the eminence they deserve.

129,136 ZCO


All Shows -
6:25, 8:10, 9:55

iy James M. Mohn
NN ARBOR's Selo/Shevel Gallery
currently features a tremendous
p exhibition of ceramics by Michigan,
ceramicists. Presented by The
Michigan Potters' Association, the
exhibition features 111 works from 71
Michigan artists.
The Michigan Potters' Association
originated in 1958. The intentions of the
Association were to foster growth and
recognition for Michigan ceramicists.
' "Michigan Ceramics '83" is the sixth
: annual state wide juried exhibition.
Marge Levy, chairman of the art and
design department at Purdue, soley
juried the exhibition. Levy stated that
'In jurying work... I first attempted
n. to 'read' each piece and determine
M what it was saying in terms of idea,
t K formal qualities and technique."
° Levy honored three representatives
" ,f The University of Michigan's School
of Art with awards. Cindy Boughner-
Ramsey, master of arts graduate, 1980,
received The Detroit Gallery of Con-
temporary Crafts Award for her piece,
:,'Self Portrait Inversion at 29.", This
piece expresses Ramsey's affinity for
ptt ic spaces of buildings.
b "I enjoy being in attic spaces and try
to incorporate their plainer geometry
into my work." Ramsey continued:
I'm exploring the relationship between

show exhibits wealth of talent

kinko's copies
540 E. Liberty St.-761-4539
Corner of Maynard & Liberty
kinko's copies

inverted rooftops and functional
ceramic vessels."
Also featured are two pieces by Tom
Phardel, another University alumni.
Phardel's pieces reflect his interest in
anatomical forms. One of his objects
alludes to the wing spread of a moth,
while the second embodies charac-
teristics of a human navel. Phardel
noted: "I've been intrigued by natural
or anatomical forms ever since I began
with ceramics."
The juror's award for excellence
went to Heather Heimarck, a junior in
the School of Art. Heimarck's winning
piece, entitled, "4 Cores," represents
the elements wind, fire, and water.
Heimarck strives to incorporate motion
into her work. "I'm striving for

TUES - 4:30, 6:25,
12:50, 2:40, 4:30,

i 1

motion," she explained, "more
specifically, kinetic motion. I try to in-
corporate elements like these into my
work through enviromental installm-
Present during Friday evening's
opening ceremony was university Art
School Professor Tom Larkin. When
asked his opinion about the quality of
art exhibited, he said, "This is no back-
country show-such an exhibition could
easily go down in Chicago, San Fran-
MSA-Student Organized Scholarships
Scholarship Drive Raffle
has moved Drawing date
to March 15, 1983.

cisco or New York." Larkin~ seemed
emphatic when saying, "The quality of
work here is superb!"
The Selo/Shevel Gallery is located on
v4ain Street between Liberty and
illiam. The exhibition and sale will
continue through February 11. Items
for sale are priced between $30 and

TUES - 3:50, 6:45, 9:30
WED - 1:00, 3:50, 6:45, 9:30


FEBRUARY 15, 8pm
Tickets available
at PTP Ticket Office


F 6eJAA W.Am


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