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 IRT tom. row in Daily Arts: The Best of Ann Arbor features readers' favor it places and activities here at the University. Aprl 7. 1 3 ! 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 Dave Holland Quintet Bird of Paradise Tonigt at 8 and 10:30 group has become some- what of a rarity. Dave Holland, one of jazz's most revered bass play- ers, has provided such stability, assembling dis- tingui shed ensembles since the 1980s. In the early 1940s, Charlie Parker developed 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," Holland said. 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 own." 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 begin. 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 this evening. The Glut-Of- Towners At Briarwood and Showcase 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 of Chicago. 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 . and Automobiles." 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 expectation. 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 Zastrozzi: The Master of Discipine Arena Theater Thursday and 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 fascinating." "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 Carroll's poem "Jabberwocky," Gimble Gimble recently Angell Hall increased its size Auditorium B to 17 members. Two years ago, Friday at 8 p.m. Gimble began with founding members from the University Arts 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