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Corea captivates crowd
xMj- Ents Offim
UAC's Soundstage & The Office of Major Events/UM Division of Student Affairs Welcomes
Singer/songwriter and performer extraordinaire Melissa Etheridge is unquestionably a true survivor. Since she
emerged in 1988 with a self-titled debut, she's been picking up momentum with each subsequent album. The
passion and unpredictability of live performance. The exhilaration of raw, untempered rock and roll. These
are cornerstones of Yes I Am, the fourth album from Melissa Etheridge. The electrifying Etheridge was
captivating audiences at age eleven in Leavenworth, Kansas, years before Island Records' Chris Blackwell
discovered her in a Long Beach, California bar. That 1986 meeting led to two platinum albums in two years,
Melissa Etheridge (1988) and Brave and Crazy (1989) and took Etheridge's live show around the world.
And in 1993 the single, "Ain't It Heavy," from her 1992 disc, Never Enough, earned her a Grammy for Best
Female Rock Performance. It is this sense of performance, of Etheridge's unique energy, that lies at the heart
of Yes I Am.
By BRIAN WISE
Tracing Chick Corea's prolific career is not unlike
driving around Ann Arbor streets for the first time. You
think that you sense an obvious road map in the pianist's
stylistic evolution, and suddenly he throws you something
fresh and unexpected.
Yet for all
C i ooa rs, a very indi-
vidual sound can be
Power Center traced back to his
October 1, 1994 roots in Latin, free
and fusion jazz, as
well as his training
in classical and twentieth-century music. Many of these
elements came together in unique ways on the Power Center
stage Saturday night. Corea, along with his Acoustic Quar-
tet, provided high-voltage energy for the sold-out crowd.
The ensemble, featuring saxophonist Bob Berg, bassist
John Patitucci and Gary Novak on drums, generally inter-
acted well to the pieces' inherent fluctuations of mood and
style. The three charts featured in the first set all began with
a solo introduction by Corea, who artfully combined har-
monic sophistication with warm touches of lyric grace. The
rhythm section's entrances were a bit timid at first, particu-
larly in Novak's case. However, once a tempo was estab-
lished, they brought out intricate shades of cross-accents and
crisp patterns, yet they still allowed the music to swing.
Each tune of the set became open to infinite means of
rhythmic nuance and variance. A fast swing would join with
hints of samba, rumba or calypso rhythms, or a buoyant
march would combine with bits of rock and funk. On top of
this, Corea would set up angular, edgy melodies and abstract
swirling figures that gave the tune room to breathe. Novak
could have followed that premise more often. His solos
came at you with a brash intensity, but they really had
nowhere to go after that.
A new conceptual piece by Corea entitled "Time Warp"
was featured on the second set. In its current form, it
consisted of four movements - "The Wish," "Arndock's
Grave," "Discovery" and "New Life" (according to Corea,
there will be six or seven movements on the recording,
which is yet to be released). The ambitious composition
featured a variety.of textures, with extended solos for each
member of the group.
A lengthy interlude by Berg displayed his round, brig4
tenor tone. Although he was sometimes redundant in his
ideas and note choices, he soloed with an intensity that at
times echoed the great John Coltrane, at one point even
quoting the sax legend's masterpiece, "A Love Supreme."
The second movement was all Patitucci, whose superb
formal logic and virtuosic flare was displayed with endless,
driving torrents of notes - notes that could suddenly take
shape into a dynamic, intricate groove which would eventu-
ally deconstruct once again.
"Discovery" had a shuffle feel and a whimsical, light
hearted energy with its opening duet for piano and drums.
featured a soprano solo by Berg, as well as Corea who
balanced playful rhythmic figures with densely-woven har-
The prelude to the final movement was Corea's experi-
mental tour-de-force. He produced various percussive ef-
fects on the piano, whether plucking the strings or striking
them with a mallet. He then segued into a syncopated vamp
that brought things back to the more traditional sphere of
straight-ahead jazz. The restof the bandprovided arejoinder
to this, with none of the hesitation apparent in the first set, b
with a concentrated force and intensity.
With the contributions of the Quartet Saturday night, the
many directions that Chick Corea's career has taken achieved
some sense of resolution. The set's exciting conclusion
illustrated that there will be more to come from one ofjazz's
Tickts are on sale now at the MichiaUnin T t O
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The Hispanic Heritage Celebration & The Office of Major Events/UM Division of Student Affairs Welcomes
Nuuy.rican P.wn Cw
Michigan Jnio Ba room42.
Saturday 7.3 i Ay p
This performance of the Nuyorican Poets Cafe Live! will be a performance of thought-provoking ideas
performed in a festive way. The performance is like going to a revival meeting except they throw poetry at you.
A hub of the new poetry scene has been the Nuyorican Poets Cafe in New York City's culturally diverse Lower
East Side. Four dynamic word slingers - Miguel Algarin, Bob Holman, Reg E. Gaines and Emily XYZ are
currently touring as Nuyorican Poets Cafe Live!
Founder of the Nuyorican Poets Cafe and an international force, Artistic Co-Director Miguel Algarin is
equally at home on Loisaida's "Mean Streets," where he directs the Cafe's Theater program, to the hallowed
halls of Rutgers, where he is an professor of Shakespeare. Algarin has published eight books, won three
American Book Awards (including one for translations of Neruda), and has most recently seen his own
bilingual book of poems, Time Now/Ya Es Tiempo, go tri-lingual with its recent publishing in Tokyo!!
Executive Director and Artistic Co-Director Bob Holman is a poet and poetry activist, the dean of the
scene-"poetry's guru," says Seventeen Magazine. He's published five books, appeared in numerous antholo-
gies and countless magazines, ran the St. Marks Poetry Projects for years, and co-directs the Nuyorican Cafe.
Reg E. Gaines: Gaines is poet breaking through in the world of Rap-his record, "Please Don't Take My Air
Jordans" (on Mercury) is a smash and he has appeared on several MTV spots including "Spoken Word
The poetry bespeaks the fundamental changes that this society is going through. So don't miss this special
event sponsored by the Hispanic Heritage Celebration and UM Major Events/Div. Student Affairs.
The Canadian band Moist's debut,
"Silver," is one of many albums that
attempts to imitate, or at least capture
the sound of, who else ... Pearl Jam.
Not that "Silver" is a bad album, but
between the erratic vocals and thick
and heavy layers ofmusic, Moist sounds
like acombination ofmany other bands
fighting for a shot at stardom today.
After looking past the Vedder &
Co. comparisons, "Silver" offers some
straightforwardquality music. "Freaky
Be Beautiful" is one of the many fast
and interesting tracks on the album.
Vocalist David Usher's whines and
cackles compliment the faster songs,
and on slower ones like "Believe Me"
he slows and mellows, and compli-
ments the rich music.
The light and free sounds of "Pic-
ture Elvis" and "Low Low Low" give
the album a good balance between
Moist's hard edge and a softer, Blind
Melon style. A large part of this lighter
feeling is credited to Moist's heavy use
of piano and keyboard across the al-
bum, which separates their music from
other similar bands.
Already popular in the Great White
North, Moist is off to a good start with
"Silver." It is a decent album, filled
with enough hooks to catch a dead fish,
and it's poppy sound may hitch a few
listeners along the way.
- Brian A. Gnatt
A little bit of fun, a lot of what
everybody else is doing. Original
Flavor's first release had a different
sort of feel; although it was not a big
seller, it was a step in the right direction
for D.J. Clark Kent's adventures in
posse building. Following O.F's first
release was The Future Sound, a crevi
sounding even more promising.
Now comes the second release from
Original Flavor and it's a bit of an oxy-
moron. Like many folks, chants and
funny, crazy flow, senselessness per-
vades the lyrical flow. And like many
albums, sax licks echo over deep bass.
It's credible, but it is anything but origi-
nal. Some of the justification for the
change in musical direction is found i4
the personnel change-the addition of
one member and the loss of another.
Butregardless, the listeneriscan'thelp
but consider their monetary motiva-
tions; as they say on "All That," "I'm
only tryin' to make my pockets fat."
So if one can't get enough of that
comin'off hard, a little sexist, chanting
new school stuff then lay those bucks
down. There are a lot of nice samples
and a few stand out lyrics. But if the
listener is looking for truly original
flavor then keep you wallet folded.
- Dustin Howes
Tickets are on salk now at the Michigan Union Ticket Offic
'rh m'uqC m svN~
October 1 - 10
The exhibit by local painter, Gladys Shirley, will continue
on the NCC Gallery Wall. Using watercolors and oils, the
artist portrays landscapes, portraits, and animals.
October 3 - 8
Hindu Students Council will host an exhibit titled
"The Beauty of Hindu Culture and Philosophy" in the
MU Art Lounge.
October 3 - 15
The Center for Middle Eastern Studies will host a photo
exhibit in the NCC Atrium. The subject will be mosques
in the United States. An opening reception will be held on
Monday, October 3rd from 4-6pm in the North Campus
Sundays and Mondays in Leonardo's
Start out the week with live music every Sunday and
Monday from 8-1Opm. Presented by Espresso Royale Cafe.
Thursdays in Leonardo's
Live jazz can be heard every Thursday evening. Presented
in cooperation with the UM School of Music Jazz Studies
Program directed by Ed Saraith. Standards, original
compositions, and contemporary arrangements can be
enjoyed in a casual setting. All performances 8-1Opm and
Fridays in Leonardo's
All performances from 8-1Opm.
Montage will perform at Leonardo's this week from
8-10pm, featuring compositions that blend imaginative
vocal lines, warm, jazzy piano voicings, and masterful
guitar playing with spirited Latin and Brazilian-influenced
percussion. The members of Montage are Tim Twiss on
guitar, Kathy Moore on flute and vocals, Steve Osburn on
guitar, Lisa Wolf on piano and vocals, and Aron Kaufman
on percussion. No charge.
Monday, October 3
Sunday, October 9
Monday, October 10
Sunday, October 30
Monday, October 31
Gez, Mike and Junwai
The voices of Don Charles and Deb Gessner blend with
the Celtic harp, guitar, concertina, mondola and banjo to
create a rich and varied musical fabric with fibers from the
October 4 & 18
The UM Folk Dancing Club will be meeting in
Leonardo's in the lower level of NCC the 1st and 3rd
Tuesday of the month at 7:30pm. Emphasis is on Eastern
European and Middle Eastern line dances and circle dances.
No partner is needed. Beginners and onlookers are
welcome. Come and join in or watch and enjoy the music.
October 3 - 7
Rochelle Kole will have a wide variety of jewelry,
including costume, beads and sterling silver, as well as soft
develop a worthy substitute, John Wesley Hyatt came forward with Celluloid, the worlds first plastic. Hyatt had bought the patent
Wednesdays in Leonardo's
All performances 8-10pm and no charge.
Four Hand's guitar duo, Jeff Hartshorn and Micheal
Varverakis, featuring a unique blend of jazz, folk, rock,
classical, space and Latin rhythms.
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