ARTS
Wednesday, November 20, 1985
The Michigan Daily
Page 7
Shorter comes up short
By Marc S. Taras
t was really not the triumphant
return that I had hoped for when
saxophonist and composer Wayne
Shorter came to town last weekend.
In Sunday night's first show at the
Ark, Shorter unveiled his new quartet
and confidently led them through a
slick set of material taken mostly
from his new LP Atlantis.
Though the audience was wildly en-
thusiastic at this Eclipse Jazz event, I
must admit to excitement and disap-
pointment in equal measure. I mean I
was troubled. Here was this cat - a
genius - blowing liquid gold in acts
*of alchemy all night with a band that
was (in a lively way, I guess) simply
going through the motions.
The music was structurally
reminiscent of Wayne's work with
Weather Report. On the one hand this
bugged me. It was a review period.
On the other hand Wayne played
more horn than I have ever heard
from him and he was in top form.
Mesmerizing.
He was joined on stage by three
young white kids - and they played
like it. Sorry, folks, I call 'em as I
see 'em. Pianist Tom Canning has
sounded less cliched on album dates.
Bassist Gary Willis had every hair
licked into place. Drummer Tom
Brechtlein played rock 'n' roll with
lots of notes.
The music was well rehearsed and
Wayne was his usual supple self yet
there was something lacking. The
band provided a backdrop rather than
a motivating support. I experienced
an alienating flash in the middle of
the set. .. before the show had even
begun I spoke with a glowing Colleen
Clancy. She excitedly reported
Wayne's delight at meeting her!
Wayne is a long time West Coast con-
sumer of Ann Arbors home-grown-
finest-in-the-universe Clancy's Fancy
Hot Sauce.
Later, it struck me how comfor-
table Wayne looked. How happy he
seemed to be here. This is genuine. I
took his experience with Colleen as a
a sort of metaphor.
The band was playing to the Ann
Arbor kind of crowd. As I observed to
a friend, this was jazz for the CD
generation. It was appropriate,
geared to fans of Windham Hill and
Pat Metheny LP's. Soft touch fusion
that was astute rather than commer-
cial. Geez, Wayne, what topicality!
It was a struggle for me between
content and context. Read: content
vs. contest. Wayne was simmering
with as much grist for the mill as
ever . . . but the band ... yeesh! The
same old some old sameoldsameold.
Oh well.
There were highlights; moments
where everything seemed to click and
blossom. "On the Eve of Departure"
featured Wayne as a Kung Fu master
of soft fiery sword speak. Power is
Zen art of silent tongues. When he
blows soft and breathy it is often
stronger than other folks' screaching.
Seemingly drunken funk leanings
thinly disguising the power within.
There was plenty of grit in Wayne's
playing. Lots of sweet slippery
soprano and fullsome tenor. The horn
and the sound have lost none of the
fabled patina. At one point the lights
went out in the room and Wayne
pulled the whole audience into the
maelstrom. It was hypnotic. I almost
bleived that it was Cecil McBee and
Roy Haynes with him on stage. The
familiar licks the young folk offered
broke the spell again and again.
Oh well. Happy and sad. Plenty to
think about. I wish that Wayne would
recoup his gris-gris. He is a witch doc-
tor who can minister to all of us if he
only has the proper (con)texts.
'Nigh tm are.
Farce or
By Katherine Hansen
"
POOR PRETTY-BOY Jesse Walsh
(Mark Patton), a teenager any
girl would love to introduce to the
folks if not for one small quirk: Fred-
dy Krueger, a psychopathic, spear-
clawed killer resides in the dank
boiler room of Jesse's new home. Of
course, Jesse becomes even less ap-
pealing when Freddy decides to move
into Jesse's body. Aside from this
*nienace, Jesse is a sweet kid - you
would hug him if you could.
His story is A Nightmare On Elm
Streeet 2: Freddy's Revenge, and the
film monotonously delivers just what
the title promises - a nightmare that
drags on and on . .. and on.
There seems to be no end to the tor-
ture that Jesse must endure. He's
stuck not only with the same night-
mare night after night, but also an
unsympathic, nerdy father (Clu
*Galager) who can only conclude that
his son's frightful dreamy episodes
are drug-induced. Thank God for
Jesse's mom (Hope Lange), a kind
lady who semi-compensates for her
callous husband. Sure, Mom is caring
and Dad is jerk; stereotypes we've
come to wearily accept but neither
role has any semblance of dimension.
Apparently Chaskin saw more impor-
tance in centering the tale on Jesse
and his Annette O'Toole look-alike
girlfriend, Lisa (Kim Myers).
Myers and Patton comprise a less
than convincing team. When the pair
discovers the essence of Jesse's
recurring nightmares and somnam-
bulist tendencies, they are drawn
together in lukewarm love. Ah, so
sweet, but more often, downright
laughable. Jesse and Lisa's union
becomes far too contrived, and the
tale turns from an emotionally
draining horror show to a series of
boringly predictable scenarios.
Of course, the couple's ensuing
sexual interlude is ludicrous. Lisa's
Fan tasy
Dlside barbeque swarms with chic,
apely, and horny teens while she
d Jesse cavort in the cabana. Why
his film rated R? Certainly not by
rit of its sex scene, which is, at
t, a joke that failed.
here are other joke-ridden scenes
well. Jesse's wandering about in
sleepwalker's aura and finds
nself in a punk bar inhabited by
istic, bigger-than-life characters, is
fusing. How about Jesse's slimy
een tongue used to, shall we say,
oke Lisa's romantic endearments?
d let's not forget Freddy's handy-
ndy orange peel skin, which he uses
reveal his "brain."
Vhat shall we make of this en-
rage of slimy sex and ridiculous
agery (or is it ridiculous sex and
my imagery?) Who knows, or more
ingly, who cares? Obviously,
mething funny happened when
eddy hit town. No wonder, since A
ghtmare on Elm Street 2: Freddy's
venge is far more rib-tickling than
ne-chilling.
Austin's Zeitgeist bring their own brand of southern rock to the Pig Wed. night.
Not just anothertwangy guitar band
baritone depths to produce some serious harmony, as
By Hobey Echlin in "Translate Slowly," and make the case for the
ILTAR oriented Southern rock is a touchy subject band's original approach to some of the older musical
Ithese days. As soon as you've plugged in your themes that their contemporaries get so bogged down
thes das. s son s yo veplugedin our with.
Rickenbacher cutaway and spoken your first drawled Diversity scores another plus, as the album proves
words, you've got "R.E.M. clones" hung all over you, amply. Plenty of Byrds went into baking the "Araby"
and even if it does sound a little different, well, pie, but the twist is indescribably refreshing.
somebody'll come along and have something bad to Back that with the melodramatic "Things don't
say. Change," throw in some emotional confessions with
Zeitgeist is out to change all that and defy your "Legendary Man," and put it all alongside the six-
monikers. And while they're at it, they have a helluva string chaos of "Sound and Fury," and you jsut may
time. have the next superband.
The Austin-based fouresome, the fun-child of The sound may be hook-filled, but they're Zeitgeist
singer/guitarists Jeff Croslin and Kim Longacre, is hooks. And with the Who-ish-at-times rhythm section of
nearing their second year of existence, and their new drummer Garret Williams and bassist Cindy Toth
Translate Slowly LP (DB recs) is climbing up college (staying home this tour to give birth) providing the
air-play charts faster than you can say "New South." powerful backdrop to the layered vocal harmonies and
Asking why, you're not going to get many easy an- guitar hooks of Croslin and Longacre, Zeitgeist defies
swers. Hell, they don't even really know. the simplistic clich of their jangly contemporaries.
"We had no idea any of this would happen," con- And the name? Literally translated; "Spirit of the
fesses Croslin. "There are trademarks to our sound, times." In a world where pretensions only go so far
but I can't write twelve songs that sound alike in the before everybody gives up and goes out for a beer,
sense that U2 songs sound alike, and we're just going to Zeitgeist is just the thing.
have to live with that." Where else can you hear Beat-tinges lyrics with
And it's all the better for us. In fact, Zeitgeist is one brooding melodies right along side the Peanuts theme?
of the first bands to come along that don't wear their brongmlderihaogsdetePnushm?
influences on their sleeves. Or upbeat Willie Nelson covers, so good you can sing
If it sounds Velvety at first, and it seems Croslin is right along, paired with the incredible surface-to-air
pulin hisbstLuVeedralondcomesea eslCosynds vocal harmonies of Croslin and Longacre? Not in my
pulling his best Lou Reed, along comes a melody and garage.
timed lyric that puts Lou back in his place. Zeitgeist, tonight at the Blind Pig. See if Texas is
Homage paid, but talent, too, as when Kim good for more than cheesy football teams. Music will
Longacre's voice brings Croslin's voice up from its happen about 10 p.m.
I
"to
I -
Michigan Daily
ARTS
763-0379
-..j
w
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. \".
COOKIES
NIGHT OWLS TAKE A STUDY BREAK!
Buy 2 or more of Mrs. Peabody's cookies
or brownies after 9:00 p.m. and get
a FREE beverage!
Records
The Alarm-Strength
(I.R.S.)
Back in the days when U2 were
touring to promote their album War,
it seemed that they were constantly
trying to sell us this new act, The
Alarm. The Alarm were U2's favorite
band, and were touted as something
fresh, pure, compelling, and let's not
forget political. They frequently
opened for the Irish band, and their
anthematic, energetic songs,
highlighted by acoustic guitar playing
- not electric - helped create The
Alarm Image.
Well, times have changed, just like
U2's sound. But the Alarm seem to be
trying to rediscover that band's
original fiery style (which producer
Brian Eno helped diffuse on their last
album), tossing out the acoustic
guitars in favor of a heavy-duty, all
out electric approach which is a lot
more than similar to that of old U2.
Imagine The Edge's playing without
the characteristic added effects to
his guitar. The result is a tight,
somewhat American sounding,
clearly derivative attempt at the
jugular of AOR. It might (unfor-
tunately) succeed, too.
The album opens with the pounding,
radio-geared assault "Knife Edge,"
The Alarm seem to have gone for a
heavier keyboard sound, as well-and
this helps hurl the piece through its
driving power chords. But that an-
themic lyrical style is still om-
ipresent inthe band's songs -
lthough it's dubious as to what sort
of revolution these guys would like to
see, if any. This song out-lives its
usefulness after about five chords,
and seems to pound on forever with
Mike Peters lamely repeating, The
important thing is I've got to sur-
vive.
"Strength" pummels its way
through an especially obvious attem-
pt to swipe The Edge's distinctive
Auitar plaving, straight out of "New
blance, to, of all things, "I'll Get By
With a Little Help From My Friends"
of Beatles fame. Well, at least the
opening does.
There's some more U2-isms on the
actually redeemable "The Day the
Ravens Left the Tower," a pretty
melody with some genuinely affecting
lyrics of devastation. It's got a nice
sense of passion to it, but unfor-
tunately one can't get away from its
complete lack of originality. The song
almost belongs on October.
The Alarm want to be cranked on
your radio and there's absolutely no
doubt of it after listening to this
record. Strength contains shards of
just about everything that's "hot"
and "marketable" AOR, as well as
a sickening overdose of the licks
straight from the previously men-
tioned U2. Their revolution - which
was abstract enough before, but at
least sounded convincing when set to
acoustic guitars - sounds cheap and
silly when taken to grand arena rock
proportions. But, then again, grand
arena rock seems to be what The
Alarm have chosen to conquer. Elec-
tric guitars certainly pack more
space.
But funny as it may be, The Alarm
do a better U2 than U2 does, lately.
-Beth Fertig.
Gene Loves Jezebel-
Immigrant
(Relativity)
Gene Loves Jezebel, one of the
many distinctive and consequential
British bands finally getting domestic
distribution and record deals, have a
sound that is a combination of tribal
and thrasing drums, smooth bass
lines, assorted razor-edged and fire-
siren guitars, and two of the most in-
describable wailing calls coming from
the mouths of instigators Michael J.
(identical twins, no less).
Yet under all the barrage is a very
traditional feel, something that is
very Keltic. It gives their sound an
added substance, something lacking
in most of their contemporaries. It is a
haunting and beautiful manifestation,
putting them somewhere between U2
and Bauhaus, but it rocks in a dif-
ferent way.
"Always A Flame" starts the
album off, building with a slow, hazy
and lazy Keltic intro. Then it rocks. It
features a compounding of jagged and
string-bending guitar and some nicely
placed whistling.
"Shame" is a rocker with chanted
vocalsaand searing guitars augmented
by a bouncy but sinister beat.
"'Stephen" is a slowed down Keltic
waltz with assorted soaring guitar
chords.
"The title track finishes the side,
feeling like a cool England morning as
the waves slowly wash up on the
shore.
Side Two begins with the two best
tracks, the current single, "Cow,"
and the scorching and sensual, "Wor-
th Waiting For." The former has a
real loose arrangement, an amazing
guitar line and chanted chorus, while
the latter has an incredible bent and is
as catchy as hell, to boot.
GLJ are an unassuming and
thoughtful item..They use a consistent
framework, but interject numerous
nuances that give them something
they can call their own.
-By Richard Williams
Open till 11 p.m. daily
715 N. University
761-CHIP
COUPON MUST BE
PRESENTED WITH PURCHASE
OFFER VALID THROUGH
DECEMBER 1, 1985
I.or
( )
"N"
(*vI
."
Earn 8 Credits This Spring
in NEW HAMPSHIRE
THE NEW ENGLAND
LITERATURE PROGRAM
MASS MEETING & SLIDE SHOW
THURS., NOV. 21
8 p.m.
AUDITORIUM D, ANGELL HALL
for more information
PROF. WALTER CLARK
Dept. of English
761-9579
I
U ~'Bird
Pnuiise .
JAZZ CLUB
The Bird of Paradise
Ann Arbor's On/v Jazz Club
Located at 207 South Ashley
662-8310
Featuring:
LIVE JAZZ
ENTERTAINMENT
Seven nights a week
9:00 P.M. - 1:30 A.M.
BUT
We're not just a nightclub. Come join
us Monday-Friday, 5 P.M.- 8 P.M. for
" Happy Hour Drink Specials
" After work Snacks
ALSO
Wed.-Friday & Football Saturdays
Live Music 5:30 P.M. - 7:30 P.M.
r
take a day off from smoking . . . join
the
Great American
SMOKE 019
Thursday, November 21, 1985 " 10 AM-2 PM
"Fishbowl". (Mason Hall)
I
I
A Grand Tale of High Adventure as
Thrilling as Raiders of
The Lost Ark or King
Solomon's Mines
If you smoke, donate a cigarette for a
chance to win prizes.
Non-smokers are eligible to win too,
if they pledge to adopt a smoker and help
him/her quit for the day.
Thinking about quitting for good?
"Say No to Nicotine"-University Health Ser-
i
I