10A=- The Michigan Daily - Monday, September 25, 2000 ARTS SINGH Continued rm Page 9A importance of secrecy and how it plays an essential role in this record of cryptography; secrecy drives one to make codes, similarly, it impels another to break codes. An engaging tale of buried secrets and the techniques of solving them, "The Code Book" absorbs the reader and actually gives you something to think about, beyond the mystery, past the suspense, its teachings linger in your mind and dwell in your psyche. After reading this book, you'll never leave a puzzle unsolved. And Singh's promise of S15,000 from his own pocketbook as a prize for solving the code at the finale of the book only offers further incentive for breaking another code. So when Simon says solve, we solve. And if Simon says clap your hands, we would undoubtedly applaud Simon for successfully engrossing us in his games and puz- zles. Jarrett: Blahing the blues away at Hill By John Uhl Daily Music Editor Saturday night, the troll of Hill Audi- torium lurked beneath the stage. The haughty imminence of Hill quells nearly a block of North U. Pastel blue and glimmer gold, its halo arc hov- The Department of Philosophy The University of Michigan announces TH ETANNER LECTURE ON HUMAN VALUES 2000-01 Partha Dasgupta Frank Ramsey Professor of Economics University of Cambridge Valuing Objects and Evaluating Policies: Economic Well-Being and the Natural Environment Friday, October 6, 4:00 p.m. Rackham Amphitheatre, 915 East Washington Street SYMPOSIUM ON THE TANNER LECTURE Partha Dasgupta Debra Satz Associate Professor of Philosophy Stanford University Keith Jarrett Hill Auditorium Sept. 23. 2000 ers over azure organ pipes with the puritanical precedence that elevates Hill above lesser Ann Arbor venues: The maize and blue crown jewel of the Universi- ty's auditoriums. Yet under the perfect echo of its veering dome, the impish Courtesy o fUM Jack DeJohnette, Keith Jarrett and Gary Peacock lulled Hill to sleep. rious for humming along with his improvising, a fairly common fetish among jazzers. But Jarrett squirms over his piano bench like a bored child, shrieking like a pig in a slaughterhouse. The irony of this distraction is that Jarrett is very fickle about the acoustics accompanying his playing situations. Ann Arbor was one of only five stops for the pianist this fall. And as Jarrett has cataloged over fifty albums for ECM (a label that is renowned for sap- ping the life out of recordings by many fantastic jazz musicians), the choice of Hill's cavernous dry hall as a perfor- mance space is rather apt. squeaks of an animated gargoyle, unaware of the concert above by Keith Jarrett, Gary Peacock and Jack DeJohnette, were audible. At least that's the way I'd like to think of it. What I was really hearing was the awful whine of Jarrett singing along with his piano. The jazz pianist is noto- More than anything, it's indicative of the misguided sentiment that jazz should be regarded as "America's clas- sical music." The green idea of Wynton Marsalis and a few other uncreative cats from the '80s, neo-classicism and the modern trend of featuring blockbuster jazz names (like Jarrett, Peacock and DeJohnette) on expensive tickets seems bent on removing everything that's dirty about jazz from the music. Jazz used to be written about in dirty books. White jazz musicians were for- saken by their families for playing the music, which was spawn in whorehous- es. The word jazz itself originally held sexual connotations. A pianist used to be able to groan to his music without seeming odd. Now it costs S35 to get into the Blue Note and Lincoln Center is building a whole complex for the promotion of its jazz program. Now, a bunch of tight-assed Ann Arborites sit in Hill Auditorium in utter, painstaking silence. (After commenting on the performance, I was actually shushed by one woman, a gesture that is such the antithesis of jazz's social ori- gins that it nearly made me sick enough to puke on her.) And what they hear was one of the most soulless, borin performances I've ever witnessed. Jarrett, Peacock and DeJohnette have been interpreting standards, the body of American popular songs from the '30s- '50s, since 1983. Unfortunately, an extended vamp ending to "Autumn Leaves," a one-key piece that is a lot like a long vamp anyway, was last night's only product from 20 years of tinkering with form. Most of the tunes featured extensive piano introductio and piano solos with brief additions b Peacock's bass or DeJohnette's drums. Occasionally they traded fours. That Peacock and DeJohnette didn't play more was particularly disappoint- ing, since their pithy contributions were generally more inspired than the solip- sistic meandings of Jarrett, whose end- less phrases rarely build to any definable climax or denouement. I left in disgust when the tri kicked off their encore of "When Fall In Love," a song that never hear- ing again will help me die as a happy man (save for the Miles Davis Quintet rendition). Basically: The sound of my own uri- nation would have been more musical- ly stimulating than what was played. Keith Jarrett took two and a half hours away from my life that I'd like back. JOIN. TH E MOST PROMISING PROFESSION OF THE 21ST CENTURY BECOME A TEA CIIRB Prospective Teacher Education Meeting Tuesday, September 26, 2000 6:00 P.M. Schorling Auditorium Room 1202 School of Education Building For more information call 764-7563 !' Personal... Focused... Effective... 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