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The Michigan Daily
Saturday, March 17, 1984
Page 7
Dewey plays
that
By Larry Deantowe
I X INU& INUM)rJA~bbNU y JAN
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over let- IBBERISH IS one of mankind's most powerfulest
cJtc weapons. Just imagine - if we didn't take all the
S, ETC. political rhetoric dished out by corpulent (in the pocketbook
42J0317 -if not morphic sense) congressional lackeys so seriously,
.50/page there'd be no imminent threat of nuclear annihilation! We, as
cJ0417 the people, would answer back with gibberish of our own, and
phlet of stalemate the problem with breadmold precision, turning rot
lice Mc- into penicillin.
811J0317 As you see, gibberish can be interesting ; it can wrap you up
in its web with arachnid professionalism, and leave you
uppl es cocooned, sticky. As word, it is strengthened through con-
fusion.
56J0317 Dewey Redman plays gibberish through his tenor
w ave saxophone. He blows his Selmer Mark VI like there was no
57J0317 language yet invented that he could communicate via.
Plants, The notes and phrasings that echo out are alien and befud-
off Ex- dlirig to us, the ears, but strangely alluring. He, more than
reeJad- many, has perfected the art of gibberish.
And he will be bringing his exhibit (leaving the inhibitions
jackets,
nd tennis home) to the U-Club tonight, March 17, at 9 p.m. Accom-
54J0317 panying will be the Dewey Reman Quartet, formally'. Black
tie and tales optional.
PUS Redman is a Texas terros, born and raised in Fort Worth
disser- (a symbolic place). This point of biographical note may slip,
530. unnoticed, by inverted-pyramid-minded scribes the globe
cJtc over, but the fact of Dewey's Lone Star statesmanship is a
notable addition to his gibberish. After all, visionary director
nt cJtc of Eraserhead andThe Elephant Man, David Lynch, hails
from Iowa, and songsmith Iggy Pop crawled from the
PERS wreckage of Ypsilanti, Michigan, not more than a spare few
761-2458 feet outside of these very city limits. The New York School
cJtc frials to breed truly varied temperments of the types men-
sonable tioned above; so constricted by their environments are they
gibbensh
the need to communicate in new ways is heightened,
ring to the point of near-topple, forcing them outward
onward to glory.
ie truth is that Redman lives in NYCNY now, his Texas
s trailing the miles over. His music is a weird
lomeration of swing, blues, improvisation, "har-
>dics" (a hand-me-over from mentor Ornette Coleman),
heart; when he plays he plays full-force, spitting the
s out like orange pits, which, if landing in fertile soil,
ut into whole new trees of inspiration and joy.
o many times in the past, Redman has been over-
owed by the greats he has sided by...the affore-men-
d Ornette, piano molester Keith Jarrett, young and
ubic Pat Metheny (always working on perfecting the
e pie school of jazz guitarography), and most notably (I
) Old And New Dreams, the supergroup of ex-Coleman
ni who've put out a handful of exhilerating, gibberishy
ms that should take a plop at least once on your tur-
les in this lifetime, if not the next. Too many times has he
unspotlighted, at least in the critics' 'drums, and the
for this denial has got to end.
nong the vanguard of new artists, Dewey Redman
es...If not in your realsm, then in his own. His music is
erish only because it is his and no one else's - like lear-
Persian for the first time: What seemed only sounds and
ts, trills and warbles, about-faces and falls into place as
age once the connection is made - that when the heart
s, the sound is universal.
the weapon is powerful when it's. in the right hands;
ing leaves off their sturdy places on the branches of
,we know it's safe since it's only natural.
e Dewey. What comes outta his horn might sound like
erish, but if you listen closely, with an open auracle, it
3 be that the notes will begin to scatter all over,
keting you in warmth. A happening? Only if you're there
ake it. The U-Club. Tonight.
Dewey Redman brings his Quartet to the U-Club tonight for some gibberish
sounds.
78.
PJte
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Records -
Ted Nugent - 'Penetrator'
CJtc (Warner Bros)
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apartment. Call Laurie 764-1616. dY0321
This album, Penetrator, is one giant
step for Ted Nugent: It leaps far
beyond Gonzo rock 'n' roll and puts for-
th a thing never played by Ted before:
Music!
The Motor City Mad Man has
produced a relatively civilized album:
For him, maybe his best ever, and for
the rest of the nation, an album that will
earn a following. Penetrator has 10
tracks, and they all deserve a listen.
The first cut, and the one that has
been receiving airplay on local com-
mercial pop radio is "Tied Up In Love.
A quick, forceful Ted solo guitar lick is
punctuated, developed, and enhanced
by beat, rhythm, and an element that
has escaped Nugent until now - music.
The song, like several others, : keeps
one's attention, gets the.foot tappin' and
can leave you wanting more.
And more follows: "Draw the Line"
is weaker, but emphasizes some gains,
and leads into maybe the best number,
'Knockin' at Your Door."
"Don't You Want My Love" follows as
a love-song, and on that is more civil
- and thus worlds apart - from such
previous hits as "Cat Scratch Fever."
"Go down Fighting" is as close to a
church song the Mad Man has ever
come, and sets up a sharp contrast to
the song after, on side two, entitled
"Thunder Thighs." This song is wor-
thless, unless you happen to want to
hear about a girl who stands five-foot-
four - thank God no morg/she
weighs an even 185: I'll come back to
lyrics in a bit.
The kind of noisy mess you'd expect
to hear on a Ted Nugent album is
limited to one song, "No Man's Land,"
and can be overlooked along with
"Thunder" because the three that
follow are such pleasant departures.
"Blame it on the Night" is my per-
sonal favorite, and contains a well-
composed synchopation and the con-
structive use of a synthesizer to develop
the song. "Lean, Mean, R&R Machine"
is the story of a man who plays that
guitar with a pre-destined vengean-
ce. Even though it seems to be about
Ted, it doesn't sound like Ted. The clin-
cher is the soft-sounding "Take Me
Home" complete with de-amplified
guitar, and a punctual percussion.
What the album experiences over any
previous Nugent release is maturity. It
bathes in it. Nugent exhibits control
and - direction that have never been
shown before, and this restraint from
gashing guitar allows a listening in one
sitting - and get this - a desire to hear
at least someof the cuts again.
. Ted's voice has good control, but the
use of Brian Howe on most of the leads
enhances the entire effort. Although
Howe's voice has a distracting resem-
blence to Foreigner's Lou Gramm,
Nugent's originality and unrestrained
guitar quickly dismiss any correlation.
Detracting from the songs in many
cases are the lyrics. It is difficult not to
know the song's title after a listen. Ted
should listen to a little Bruce for some
guidance there.
Overall, this is an album worth
hearing, and if a Ted fan, buying. None
of these songs may make the top-40, but
that has never appeared to be a Nugent
Stbdobv to
.Vaifq
aim. However, this album should, if
given a chance, legitimately make it to
the top 100.
- Mike Buhler.
i
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-I
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