ARTS The Michigan Dailyx Friday, March 22, 1985 Page 5 Dollar Brand spices life By Marc Taras WHAT CAN I say? I have been won- dering... what can I tell you (yes, you!) to let you know how important tonight is? Tonight is the night that Eclipse Jazz will present one of the most important social and political events in the history of Treetown. Tonight is the night that South African expatriate painist Abdullah Ibrahim will appear at the Lydia Mendelssohn Theatre of the Michigan League. Look out! Open your eyes and ears and believe it. Tonight is the night that Ab- dullah Ibrahim will be administering to finest of medicines with his all-star sep- tet Ekaya. The healer has come to take the children of the world home. Perhaps the beginning is the best place to start. Abdullah Ibrahim was born Adolph Johannos Brand in Capetown, South Africa in 1934. Of Afrikaner, European, and Malaysian background, Ibrahim's father was a Basuto tribesman. His mother was a pianist and choir leader' of the Africa Methodist Episcopal Church which his grandmother helped to found. Here he was exposed to American hymns and gospel music alongside traditional African sounds, Cape Malay songs, and of course American jazz records. He has always been adept at combining musical idioms and synthesizing a uniquely per- sonal amalgam from diverse sources. As a boy he sang in the church choir and began playing piano as there was one in the house. He started lessons at the age of seven and started composing "sounds" at twelve. As a high school student he led his first group, a dance band which merged Western jazz and African rhythms. Young Brand acquired the nickname 'Dollar' as a result of his love of things American. He recalls reading all the books on America at the local library at least three times, especially the sections about jazz music. Americans were universally associated with 'the dollar', hence the nickname Dollar Brand. His early influences included '30's boogie woogie pianists Pete Johnson and South African born Abdullah Ibrahim will be wooing hearts with his mystical keyboard magic tonight at the Michigan League. Ros ropov vic proves his genius wit baton' Meade Lux Lewis. As a youth his left hand was so hot that he would burn or '"it' all the locals in any competition. gut the real ascending star on Brand's horizon of influence was the Master; the incomparable Duke Ellington, America's foremost composer. By the age of 27 Ibrahim's local reputation was well established. He had tutored himself in Johannesburg with the legendary Kippy Moketsi. The late saxophonist was the South African equivalent of Charlie Parker. Along with Moketsi, Brand formed his first major group, the 'Jazz Epistles.' This group, which also featured trumpeter Hugh Masekela, performed in Capetown and Johannesburg for several years, and was the band with, which Dollar Brand made his first recordings. In 1962, Ibrahim exported his "town- ship sound" to Switzerland where he worked with his wife, vocalist Sathima Bea Bejamin. One memorable night in Zurich the pair met their idol, Duke Ellington. The Duke was immediately impressed with what he heard and brought the pair to New York under his own auspices to perform with the Ellington Orchestra at the Newport Festival in 1965 Brand played solo con- certs including Carnegie Hall and received the greatest of all possible honors when Ellington insisted that he take over the piano chair in his or- chestra for a series of East Coast gigs. By 1975 Dollar Brand had appeared all around the world. He has penned over 700 songs and recorded over 45 albums. He has worked with such luminaries as Elvin Jones, Max Roach, Don Cherry, and Archie Shepp. After returning to Africa,'and an extended stay in Europe, Dollar Brand returned to the United States where he has set up his base of operations in New York. He converted to Islam in 1968 and took on the name Abdullah Ibrahim. The seed has grown over the years and blossomed in numerous beautiful blooms. Tonight at Lydia Mendelssohn we have the opportunity to stop and siell the roses. To pay tribute to a great man, and a beautiful musician, while reflecting upon the ideals of human freedom which he cherishes. Come children. Come out tonight and play. Abdullah Ibrahim will heal you. His music will make you whole again. And Ekaya (his amazing band, which given more space, could be adequately described in a 200 page volume) will take you home and welcome you to a shelter rare beauty and strength. The goal of Ibrahim's music is healing the listener. He raises social consciousness while generating a sense of well being. This too, is the goal of martial arts. It is the tao. For Abdullah Ibrahim it is "the way which encompasses all aspec- ts of being." So come Children. Hear and be made well. Editor's note: The workshop scheduled for tomorrow has been cancelled. THE DAILY CLASSIFIEDS ARE A GREAT WAY TO GET FAST RESULTS CALL 764-0557 KERASOTES THEATRES MOVIE DIRECTORY WAYSIDE 1 & 2 3020 Washtenaw Ave,, Ypsilanti, 434-1782 BREAKFAST CLUB FRI. 5:00,9:00 SAT., SUN 1:00 500, 9:00 THE SURE THING FRL 7400 SAT SUN 3:00,7:00 BABY, FRI. 5:15,7:15, 9:15 SAT., SUN.5:15 715, 9:15 HERE COME THE LITTLES SAT.;SUN.11A5,3:15 CAMPUS THEATRE 1214 S. University - Phone 668-6416 1984 fri5:15,7:15,9:15 SAT, SUN 1:15, 3:15, 5:15, 7:15, 9:15 STATE 1- 2 -3-4 LOCATED IN THE HEART OF A2 THEATRE DISTRICT 231 S. State - Phone 662-6264 TICKETS ON SALE 30 MIN, BEFORE SHOW TIME FRIDAY THE 13th, PART 5 A NEW BEGINNING FRI. 5:25, 7:30, 9:35,12 MID THE SURE THING FRI.5:20,7:25,9:30,12MID. SAT., SUN. 1:05, 3:15, 5:30, 7:25, 9:30, 12 MID, BREAKFAST CLUB FRI. 5.25, 7.30, 9.35, 12 MID. 'AT., SUN. 1:10, 3:20, 5:25,7:30,9 35,12 MID INTO THE NIGHT FRI. 5:15, 7:20, 9:30,12 MID. SAT., SUN. 1:00, 3:10, 5:15, 7:20, 9:30,12 MID LATE SHOWS AT STATE DOORS OPEN AT 11:45 ALL SHOWS START AT 12:00-ALL SEATS $2.00 1. FRIDAY 13th, PART 5, A NEW BEGINNING 2. BREAKFAST CLUB 3. THE SURE THING 4. INTO THE NIGHT By Mike Gallatin ( RITICAL ACCLAIM for Rostropovich has never been what one might call understated. "He is passionate, brilliant, extroverted, tem- permental. All of which are reflected in his interpretations" raved Madrid's ABC. The National Symphony Or- chestra, often referred to as the "or- chestra of the Presidents," has its home base situated in Washington, D.C.; the ideological opposite of Moscow where Rostropovich's roots lie. Yet, under his direction, music, and Russian music in particular, is tran- sformed into a glorious and unsur- e "passed universal language which cuts across geographical distinctions and cultural boundaries. Wednesday evening at Hill Auditorium, Rostropovich proved once again that he possesses a magic baton which is capable of creating' not only the illusion of beauty, but of sincerity which penetrates to the very core of any composer's creative intentions. Beethoven's Symphony No. 4 was once described by Robert Schumann as "a slender Greek maiden between two Norse giants." The Third Symphony and the Fifth have always eclipsed the monumental grandeur of the Fourth Symphony though not necessarily with good cause. The National Symphony iOrchestra played with such precision and such perfectly sculptured phrases that few in the audience failed to be supremely im- pressed with the classical symmetry and exquisite form of the sadly neglec- ted 4th symphony. Mstislav Rostropovich is a name with a reputation which is larger than life. As a cellist, along with Pablo Casals, he has achieved the status of a legend in his own time. He is one of the many famous exiles of the Soviet Union, which includes Solzhenitsyn and such defectors as dancer Baryshnikov, chess master Korchnoi, and pianist Vladimir Ashkenazy (who performed in Ann Arbor in early January). Having studied composition at the Moscow Conservatory under Shostakovich, Rostropovich has always championed his mentor as well as encouraged the performance of other Russian masters such as Tchaikovsky and Prokofiev. Shostakovich's Symphony No. 5 was an attempt with the powers that were in 1938. In his preface to the score he proclaims that the "finale resolves the tragically tense impulses of the earlier movements into optimism and joy." Originally, the first movement was seen as the struggling masses and the last movement as the victory of a triumphant five-year plan. The sym- phony is modern and romantic at the same time as it looks forward to music of the future and also looks back to fun- damental classical roots. The orchestra played magnificently and Rostropovich conducted with the stamp of a genius. The third movement, marked "largo," with its elegiac lyricism and resigned passion, showed the touches of total control. In- terestingly enough, this was the only movement of the entire program in which Rostropovich conducted without his baton and it is a credit to his com- munication and rapport with the or- chestra that such perfect discipline was * * E " " " ' 0 * 0 * C SAT. & SUN. FIRST SHOW ONLY$2.00 7 0 $1.00 OFF With This Entire Ad $1.00 Off Any $4.00 Admission. 1 or 2 Tickets; Good All Features thru 4/5/8 5 " Maestro Mstislav Rostropovich magnificently conducted the National Sym- phony Orchestra Wednesday night at Hill Auditorium. maintained. In a time of social celebration of the glorious democracy upheaval and global misunderstan- of music without the interference of dings, Wednesday evening was a politics. Co-op opens inexpensive recording studio By Hobey Echlin O YOU WANNA be a rock and roll star? Well, thanks to Bill Potter and his East Quad Music Co-Op, you're gonna have an easier time than you ever thought possible. At $15 an hour for studio/engineer time, and will free tech seminars open to the public, the Co-Op has brought music production and recording to its most asccessible level ever. But it hasn't always been that way, as a little history lesson will show. The Co-Op itself was formed in Sep- tember of 1982 by Potter. Upon coming to U of M, Potter found the area a myriad of musical talent and equip- tment. This unfocused and dispersed energy needed some bond, he reasoned, and thus was born the Co-Op. Potter built a reputation for the Co- Op by first doing sound mixing for live performances. Late in '82, he acquired 4-track recording equipment and the Co-Op began its shift to studio produc- tion. The next year Potter, along with Scott Lipsitz and Jake London, (the "core" group, as Potter dubbed them) began the educational phase of the rapidly realizing Co-Op dream. Through education, Potter stresses, the true cooperational spirit is achieved as all members become equally involved with the Co-Op's production techniques and workings. Last November, a Co-Op member lent his 8-track recording equipment to the Co-Op's cause, and after the ususal red-tape and hassle, a two-room studio was constructed in the East Quad basement by the University to make the term, and more-than-able enginers running some of the hottest recording sessions this campus has ever seen. The studio itself is available for a mere $10 an hour plus $5 an hour for an engineer (literally a third the cost of any other studio). Already the studio has produced material for an upcoming EP by Civilian Fun Group, recordings of fusion pianist Scott Wilke, and Map of the World's first single. Potter adds that the Co-Op has bran- ched considerably from an East Quad underground organization with for- midable involvements from UAC to WCBN to Eclipse Jazz. . Though Potter is graduating this spring, the Co-Op will definitely thrive in the capable hands of his disciples, as he promises next year will feature regular administration meetings along with more fund-raising activities, like the successful blank tape sale held on the diag every term. Tonight, the Co-Op will be holding a benefit featuring all the talent the Co- Op can amass for a single night of ar- tistry with three bands (including It's Raining) and various acts between band sets. Doors open at 9 p.m. at East Quad's Halfway Inn (use the Church St. entrance), and the music will continue until 1:30 a.m. WCBN will be broad- casting the event live and there will be an 8-track recording made, a la Cruisin' Ann Arbor. All this will cost but.$2, so it will definitely be worth it. Money from the benefit will be used to improve the studio with the addition of a drum booth. If a benefit sounds too tame, try the Time Machine on the 30th, which Potter promises to be a multi-media event of audience participation. If you want to book studio time, or see about getting involved with the Co-Op, or just want to find out more about this worthy and talented organization, the office phone is 764-3456. If you get the answering machine, don't worry, they'll get back to you. After all, they could be producing the next super- album. " 7 ACADEMY AWARD NOMINATIONS Indc.... BEST PICTURE SAM WATERSON THE KILLING A FIELDS I®1 FRI., MON. 4:15,7:00,93 SORRY NOTUES DISCOUNT PRICES "SAT., SUN. 1:00, 4:00,7:00,9:35 FRI. & SAT. AT MIDNIGHT " " NEW TWILIGHT SHOWS MON. THRU FRI. $2.50 TIL 6 P.M. " * CHER " SAM ELLIOT " * They Told 16 Year Old Rocky Dennis He Could Never Be Like Anyone Else, So He Was Deter- " mined To Be Better. " BASED ON A TRUE STORY FRI., MON. 5:00, 7:10, 9:30 SATSUN 12:30,245,500, 7:10, 9:30 FRI. & SAT. AT MIDNIGHT-(PG-13) ANN ARBOR EXTRA SHOWS FRI. & SAT. NIGHT-REGULAR PRICE * AT MIDNIGHT "THE KILLING FIELDS'(R) AT MIDNIGHT "MASK" (PG-13)