8- The Michigan Daily - Monday, February 15, 1994 Flutist Galway charms audiences 'Pied piper' James Galway entertained Sunday at Hill Auditorium By KEREN SCHWEITZER "Good afternoon ladies and gentle- men, I was just checking to see if you were alive," flutistJames Galway said. nrnrtnRM A m^c ncsnrtu OF, m I PEFOMA i~uu~NE ~i REV 1 151*Af I'E IhI~IIIIII1I c rcnrvn nn wc ricY rr m James Galway with Christopher O'Riley Hill Auditorium February 13, 1994 Sunday's performance with pianist Christopher O'Riley marked his eighth concert appearance in Hill Auditorium. As anticipated, the world-re- nowned soloist performed to a full house of adoring fans. Dressed in a tuxedo complemented with a green bow tie, Galway charmed his audi- ence with his distinctive Irish humor and unpretentious musicianship. Galway's strength in aliveperfor- mance is his ability to get in touch with his audience. There was a micro- phone set on the stage so that he could communicate with the audience in between pieces. The audience re- sponded warmly tohisjokes-"How do composers get the idea to write a piece like this? Maybe they get their students to write them." Surprisingly, Galway urged the audience to remain quiet during the concert. Most per- formers would not risk offending their audience with such a request, but Galway's superstardom affords him such liberties. What Galway lacked in prepara- tion, he made up for with lightening speed technique and a rich low regis- ter. In the Sonata in G minor by Johann Sebastian Bach, his phrasing was so natural and fluid that he seemed not to breathe at all. The Sonata in A by Gabriel Faure transcribed for flute was a success, although in order not to overpower the flute, the piano was permanently subordinated to the flute. The two instruments should have sounded more like equal partners. Widor's Suite for Flute and Piano was a potential showcase for Galway and O'Riley. Unfortunately, there What Galway lacked in preparation, he made up for with lightening speed technique and a rich low register. In the Sonata In G minor by Johann Sebastian Bach, his phrasing was so natural and fluid that he seemed not to breathe at all. were a few problems. In movements I and III, Galway played with the tem- pos so much that O'Riley was often scurrying to keep up or to pull back. In addition, movement IV was too hurried. Although the tempo is marked vivace, Galway rushed through it so quickly that it was hard to understand the progression of the movement. His virtuosic runs at the end sounded Mie a warm-up rather than a performance. The high points of the concert were the arrangements of selected Debussy works. Galway dedicated Sunday's performance of these French pieces to an old friend, University Professor of Composition William Bolcom. Galway's sweet and glori- ous tone, particularly his low register, was most enjoyable in these short bi memorable works. Before playing the second and fi- nal encore, Galway said, "This con- cert has gone on long enough. We're going to play the Irish national an- them and that's it." With those last words, Galway and O'Riley per- formed the familiar "Danny Boy" and then the Irish pied piper and his pia- nist were gone. A_ James Galway delighted audiences Sunday with charm and musicianship. RECORDS Continued from page 5 cluding "I Swear," and none can com- pare the power of this one. The more up-tempo tunes lack the spirit and originality of last year's "Beer and Bones." That's not to say that they're bad: "Full-Time Love" and "Friday at Five" will certainly suffice as radio fodder and C&W bar background music and the pleasant "If You've Got Love" is definitely worth a listen. It's just that one expects more from Montgomery. With his deep, trust- worthy voice and strong persona he could be a real star. Since he doesn't write his own music - that's not a requirement in Nashville -one can hope that he gets better at choosing songs. Until then, he'll remain a worthy country singer - a man with a few classic songs and promise. - Kristen Knudsen Carter The Unstoppable Sex Machine Post-Historic Monsters I. R. S. A sequencer, a drum machine, some hard driving guitar riffs and some of the most clever lyrical sensibilites around make up most of Carter USM's fourth full-length re- lease. These have been Carter's tools of the trade since their brilliant 1991 debut album, "101 Damnations," and on "Monsters" they show that they have lost none of their musical or lyrical punch. The album opens with the instru- mental "2 Million Years B. C." which segues into the anthemic, stadium- oriented "The Music That Nobody Likes," which is a general overview U U You are welcome to Ash Wednesday Meditative worship for Campus and Community A service of Scripture, prayer, silence, meditative singing of music from the Taize Community, imposition of ashes and Holy Communion ofthe state of the world as seen through the eyes of Carter's lyricist Jim Bob, delivered with his usual biting cyni- cism. Most of the tracks on the album are one or two-riff electronically aug- mented three-minute pieces that fall somewhere between hard-core punk and straightforward rock, but what really makes this album work is the constant barrage of politically fueled lyrical twists. For example, take the last track, "Under The Thumb And Over The Moon" ( "Let's declare open season!/ On all the racists and the bigots and their chums / And not just as a reason / For a Christmas Number One") and the Robin Hitchcock-influenced"Sui- cide Isn't Painless," ("Suicide isn't Painless / It hurts like hell / But re- served for the famous /A little suicide sells"). In addition, songs such as "Cheer Up, It Might Never Happen," "Evil" and the first single, "Lean On Me I Won't Fall Over" are as exciting musically as they are lyrically due to guitarist Fruitbat's powerful riffs and sequencer programming, and are in- stantly accessible and enjoyable. Considering the way the English music press has hyped Carter over the years, it certainly wouldn't be sur- prising if the band were just another overrated flash-in-the-pan. However, the steady musical progression that they deliver on "Post Historic Mon- sters" shows that their brand of acces- sible rock riffing with political punch can be solid as well as highly enjoy- able. - Andy Dolan Love Jones" Here's to the Losers Zoo Records Mix equal parts of nostalgia, pop culture, bongos, ballads and a love of fine spirits. Shake, don't stir, and the result is "Here's to the Losers," the debut album by the schmoozy, boozy quintet Love Jones. With their smooth, slick harmonies and matching outfit their sound and image is high-cop cept. Fashion aside, their mix of classic pop, soul and lounge-lizard kitsch is for the most part charming and turns out quite a few winners, such as the title track, "Central Avenue," "Cus- tom Van" and "Li'l Black Book"; all of these are cheesy retro-fun. Though the somewhat rigid limitations of their sound make this album a little onc dimensional, "Here's to the Losers' is the perfect soundtrack to many a happy hour. Cheers. - Heather Phares February 16 7:30 p.m. SALON GLAMOUR PHOTO SHOOT Tuesday February 15 Noon till 9 p.m, . Hair stylingF " AVEDA make up application{ " Stylish Wardrobe " FREE 8x10 color photo for only $35.00Y One hour necessary (:;HAR IS Mafter CHAW NMCA ROMONA 995-0804 315 EAST LIBERTY STREET " DOWNTOWN Mon.-Fri. 9-7 Sat. 9-5 Private Parking Smoke-Free Environment First Presbyterian Church 1432 Washtenaw Ave. 662-4466 Sponsored by the campus ministries and congregations of Campus Chapel, First Presbyterian, Lord of Light Lutheran and University Reformed churches . - . 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