0 Deanne Lundin will read her poetry at Shaman Drum. In her
recently published collection, "The Ginseng Hunter's Notebook,"
Lundin observes different items and uses them to create poetry
similar to a journal entry. 8 p.m.
ax St O~w akl
tom. row in Daily Arts:
The Best of Ann Arbor features readers' favor it
places and activities here at the University.
Aprl 7. 1
Dave Holland to
perform at Bird
'Out-of-Towners' goes now;ere
By Laura Flyer
Daily Arts Writer
Movie theaters should invent a new technology that gives
audiences the option to either watch a film in its entirety, or
use some sort of automated machine that would objectively
pick out and project the most entertaining scenes - a bit
like an extended preview.
This would have been particularly effective for "The Out-
of-Towners," in which there were about four minutes of sus-
tained minimal entertainment and another 87 minutes that
could easily have been edited out.
Based on a screenplay by Neil Simon, "The Out-of- "
Towners" features Steve Martin and Goldie Hawn as a dis- .
Dy John U
Daily Arts Writer
m Arbor jazz listeners will have a
u ue opportunity when the Dave
Holland Quintet performs two shows
this evening at The Bird of Paradise. In
a period of jazz when much exposure
comes from large-scale festivals that
often pit unlikely combinations of high
profile players together for a few per-
formances, the stable artistic environ-
ment of a semi-permanent working
Bird of Paradise
Tonigt at 8 and 10:30
what of a rarity.
one of jazz's most
revered bass play-
ers, has provided
In the early
the foundation of
lar individuals. That, I think, is the
greatest, the highest level of composing
for the jazz improviser."
Like Duke, Holland is in the fortu-
nate situation of having an ensemble of
high caliber players for whom to write.
The group he will bring to Ann Arbor is
composed of Robin Eubanks on trom-
bone, Antonio Hart on alto and soprano
saxophones, Steve Nelson on vibra-
phone and Billy Kilson on drums.
These musicians, while sidemen in this
group, rank among the top crop of
musicians in the contemporary jazz
world. "They're not youngsters and
they're not newcomers on the scene,"
Ellington's inspiration is again evi-
dent in Holland's consideration of both
the talents and personalities of these
musicians. "They're all people that I
met in the course of doing things," he
said and proceeded to recount the var-
ious collaborative situations in which
he became acquainted with each musi-
cian. "The reason that I'm using vibes
in the group is because of Steve
Nelson," said the bassist, "and that's
the case with all the musicians that I
have in the band." Holland begins with
a vague idea of a group's possible
sound texture that is continuously
revised as he hears musicians with
whom he would, like to work. Once a
group is assembled, however, the
palette is just forming. "You actually
only discover the real things that are
going to happen once things get rolling
... then it starts to take on a life of its
This philosophy allows the musicians
to not simply add their ideas through
solos, but also take an active role in
aiming the group's direction. On
"Points of View," the group's latest
album (a more recent, still unreleased,
recording was made in December),
Nelson knows just how long to lay out
before adding a sparse reference to
Courtesy of ECM Records
Dave Holland will play tonight.
chord structure that is astonishingly
coordinated with three punches from
the solo saxophone; Eubanks plays a
bold rising counterpoint, perfectly off-
setting the saxophone bounce. Such
brief quips require musicians who listen
and respond sympathetically to each
other. They abound in the music of this
quintet, and thrive in many variations
besides saxophone accompaniment
banter. "Points of View" reveals their
clairvoyance as it floats from sophisti-
cated compositions to intelligent solo
work and through collective improvisa-
tions in a seamless concoction that, at
times, leaves listeners pondering where
the arrangements end and the solos
Tonight, a new light will be shed on
this concept of group character and
continuity as saxophonist Antonio
Hart substitutes for the group's usual
saxophone player, Chris Potter.
Holland finds this change intriguing,
and expects Hart's unique presence to
act as a catalyst for fresh ideas. "Each
player certainly brings their individu-
ality ... Without disturbing the core or
the concept of the group, it brings in
another dimension," he says. Holland,
who has played with musicians as dis-
tinct as Miles Davis, Stan Getz,
Anthony Braxton and Charles Lloyd,
knows a good deal about focusing per-
sonal experiences into a relevant syn-
thesis. Perhaps one should trust his
intuition, and see how the quintet
maneuvers through Hart's dimension
ship, until they are
satisfied couple in need of a marriage
make-over. They decide to broaden
their suburban-Ohio horizons by brav-
ing the harsh, fast-paced life of New
York City for a weekend.
The couple doesn't get there 'as
easily as they would have wished,
though, and the film travels through
a series of mishaps, including a
detour to Boston, lost luggage, a
missed train, an unnecessary luxury
rental car, an automobile accident, a
mugging and a lost credit card. In the
meantime, Henry and Nancy (Martin
and Hawn, respectively) bicker over
the bickering aspect of their relation-
both bickered out. Can they find true
modern jazz by playing regularly at
Minton's in New York with the likes
of, among others, Dizzy Gillespie,
Thelonious Monk, and Kenny Clarke.
The synergetic bond that can only be
developed between musicians through
a consistent exercised relationship is
evident in the accomplishments of
e~mbles as disparate as Count
Basie and His Orchestra, Miles
Davis' quintets and the Art Ensemble
Many of the musicians in Duke
Ellington's orchestra played with him
for years, a few for virtually their entire
professional lives. Duke specifically
engineered his pieces around the vari-
ous identities and voices that composed
his band. Holland admires this quality
o lington's music, praising his talent
fo1'constructing a setting for particu-
happiness in life in all of the disaster they have experi-
enced? You be the judge ... but don't bust a ventricle try-
ing to figure it out.
Martin should easily have been able to pull off this light-
hearted comedy with his usual frantic mannerisms and wild
gestures. He has already tread through similar transporta-
tion hurdles, harking back to his lead role in "Planes, Trains .
He probably struggles to identify with the character, how-
ever, as Marc Lawrence's script is ridden with poor comic
timing and bland, even senseless, dialogue.
As for Hawn, she retains the same flighty, flaky, yet bossy
Martin struggles to be funny in "The Out-o-Twnr."
character she often plays, but, like Martin, strs to gie an
au natural performance.
The four minutes of entertamiment h ' c out of the
film can be attributed to John ClcL
"Monty Python") brief yet humorou ,c. mn
which he trounces around in wome. L
and Martin's brief encounter with an i u
when he exposes his animal instincts :o th pOi m [rugging
a tree and hounding an attractive girl
Otherwise, "The Out-of-Towneri" da wh ontrived
accidents and utterly boring converst io: a sem to be
all set up for a punchline, but falterr i a he pent of
Diversity makes Gimble s
strozzi' to appear at Arena
By Jul. MUffck
Daily Arts Writer
George F. Walker's "medieval nightmare;' "Zastrozzi: The
ver of Discipline" is a story of revenge, suspense, and
seuction. The pla
Saturday at 7 p.m.
Friday at 7 & 11 p.m.
y forces the audience to reevaluate their
beliefs and to use their own perception
of the action.
One of Walker's lesser-known shows,
the play is described as a gothic melo-
drama, reaching out to every member of
the audience. Zastrozzi is obsessed with
honor and makes himself a legend with
his use of a sword and dagger.
The focus of the play is the search of
one man, Zastrozzi the master criminal,
to avenge the slaying of his mother by a
religious artistic lunatic. Accompanying
Zastrozzi on his journey are henchman
Bernardo and Matilda, "the most
accomplished seductress in all Europe."
While Zastozzi's search for revenge is
There are two powerful components to Walker's work. There
is the master of evil - calm, collected and deadly. It is balanced
by the presence of the good and the innocent. That is, people who
are utterly misguided, yet sensitive and sympathetic.
Structured as a period-piece set in Italy, "Zastrozzi" borrows
from and suggests many texts of centuries past. Rather than
merely retelling tales and legends, Walker creates a character
whose urgency, danger and seductiveness lingers in the audi-
ences minds long after the curtain call ends.
Making his directorial debut, C. Ryan Metzger will be pre-
senting his production of "Zastrozzi." Metzger has graced Ann
Arbor stages for four years, most recently in University
Productions "Volpone" and in "Split" for Basement Arts.
"Zastrozzi" features Tony von Halle, last seen in Basement
Arts production of "Stray Dogs." Known for penning
Basement Arts "Egyptian Rat-Screw" Bernardo is being
played by Jason Linder.
Although "Zastrozzi" is one of Walker's lesser-known
pieces, Metzger believes that "it is Walker's amazing characters
and orchestral sense of emotional range that make this play so
"When the battles are all over and one leaves the theater, one
laughs, but inside" Metzger said. "It's the feeling one gets when
one realizes they've been rooting for the bad guy all along."
By Jenni Glenn
Daily Arts Writer
At a university that boasts around 14 a
cappella groups, each one must find its
own unique identity. In the case of
Gimble, that identity lies in its diverse
repertoire, which audiences will be able
to enjoy at their concert this Friday.
Formerly known as Gimble in the
Wabe, after the
line from Lewis
Gimble Gimble recently
Angell Hall increased its size
Auditorium B to 17 members.
Two years ago,
Friday at 8 p.m. Gimble began
members from the
Chorale. Now the
group sings a
range of pieces
from Ben Folds
Five's "Smoke" to the African tune "No
Mirrors" by Sweet Honey in the Rock.
"We hope they walk away enjoying
hearing songs they know and love and
enjoying hearing songs they never heard
before," said LSA senior Maya Jordan, a
singer from the ensemble.
The lineup of 16 songs for this concert
also includes the classic "Son of a
Preacher Man." The members often
improvise a surprise additional selection
during the concert. Besides the songs, the
concert features a madrigal group and
several skits by Gimble members to fit
the concert's title, "Mystery A Cappella
3000: Gimblers of the Lost Ark."
The variety in the types of acts and
music remains typical for Gimble.
"Gimble's sort of big on making sure
every song is from a different genre,"
Jordan said. "It's not like we're the only
group on campus that sings songs that
people don't recognize, but we've made
a conscious effort to sing songs that
come from all over the place."
The variety of music comes in part
from the diversity among the group's
members. The singers range in age from
18- to 35-years-old. Gimble's member-
ship contains a mix of academic inter-
ests as well as positions within the
University, from undergraduates to fac-
ulty. "Every single one of us comes
from a different bav'urn ' rdan
said. "We ar. coon n w i u ient
interests in music
"We're stil pr'i cr ing,
Jordan said. Gimb i <othmg
but grow and chanre vrsI
and become more a n
Nearly al of th, j n ' mbe
have a solo or duet whe
pieces. The group . act
everyone invole, i H.~ h
many genres inA ioi' ectne
"Each song will f nersons
voice and a dis.ns so2
Roundtable discusson p avs a equal-
ly important role In & oi 'mnsra-
tive decisions. "W c, :i7 peo-
pie, which means 1 / rwi lordan
said. "It makes the u cis.i process
longer, but better in ae bug rn
Minor hassles as t Gvmb'r mem-
bers focus on making their mUsun.
"When we sing, youB can tt ve're
having fun and enj9' al prs'c she
said. "We're 17 nCOiC who _ w the
growing pains of 1 new n capnA' group,
are having a good tim nd ati f what
people can expect frm u "
a prominent theme, the play also emphasizes his loathing for
the new age aristocracy. It focuses on his yearning for truth in
a world where the blind are led by the church.
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