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September 24, 2001 - Image 8

Resource type:
Text
Publication:
The Michigan Daily, 2001-09-24

Disclaimer: Computer generated plain text may have errors. Read more about this.

8A - The Michigan Daily - Monday, September 24, 2001 A RT S
Morgan's sweet sax brings personality,
uplifting music to the Bird of Paradise

By Adam Kaplan
For The Dai y

Mc
Di

This weekend Alto Sax player Frank
organ brought his soulful, sweet jazz
to the Bird of Par-
adise. Inspired by
Charlie Parker's
early bop music,
Frank Morgan collabo-
Morgan rated with bassist
Bird of Paradise Ron Brooks and
serd Parad2ie his trio. Most of
September 20, 2001 hscmoiin
his compositions
were standards
derived from
Broadway original
tunes, highly
influenced by the
work of legendary
jazz greats like
izzy Gillespie, Miles Davis and, of

course, Charlie Parker.
Morgan seemed to perform with a
certain grace, almost as if nothing really
bothered him. His peaceful, solemn
demeanor and his reserved personality
on stage enabled him to express his
inner feelings through his saxophone.
While playing Morgan displayed an
uncanny ability to ease his emotions,
rocking from side to side, back and
forth , ever so subtly. Every sax player
expresses their music differently, partic-'
ularly in the way they conduct them-
selves on stage.
In a humble way his modern bop
music engaged with his audience, by
means of a "talk back session." The
back and forth drum rolls, spliced with
Morgan's gentle sax sound created an
inner dialogue with the crowd. The Bop
style, in essence, is representative of this
spontaneous interaction among its musi-

cians.
Morgan, alongside Ron Brooks on
Bass, Tad Weed on piano and Jim
Francek on drums played beautiful,
uplifting music. The sound seemed to
put life in a proper perspective.
In an interview with The Michigan
Daily, Morgan's quiet, gentle personality
shined through. Morgan revealed a bit
about his transient childhood. Originally
from Minneapolis, he moved to Mil-
waukee at 6-years-old. The saxophone
was not the first intrument he learned;
Morgan took up the guitar until he was
about seven years old. By age 14, he
had mastered the art of playing the sax-
ophone. Morgan had relocated west-
ward to Los Angeles to further enhance
his young career as a jazz musician.
For some time, he played with Miles
Davis, Dexter Gordon, and the leg-
endary John Coltrane, all of whom are

champions in the hearts of the modern
day jazz community.
When asked about his outlook on
jazz, Morgan claims that "Jazz is in
Good Hands." He expressed his pride
toward the contributions of young cats
like Wynton Marsalis. Indeed, the art of
jazz has a bright future ahead. It has its
influence globally from Osaka to Paris.
To Morgan, Paris is his venue of
choice when it comes to performance.
"They are a quiet, patient, and an excel-
lent audience there," Morgan said. Jazz,
although is rooted in the American tradi-
tion, has become an integral part of the
international music scene.
As Americans, we tend to overlook
the value jazz music possesses. In a time
of national crisis, Morgan's jazz, in par-
ticular, brings something universal, that
virtually every person can appreciate if
they take time to stop and listen.

Manfred Pernico's "Secretary" is clearly that.
Conte-m porary a
rejuvinates ordinary,

By Alexis Zhu
For the Daily

The national touring exhibition,
"Everything Can Be Different,"
encounters a collection of somewhat
ordinary subjects and their unordi-
nary behavioral patterns in their
environment. This contemporary art
almost stretches the realm of nor-
mal, seemingly trite, everyday activ-

Everything
Can Be
Different
Art & Architecture
Building
Through November 4

ities, and even
touches the con-
cept of Utopian
societies. It is
not so much
about art as it is
about the pre-
sentation of
abstract ideas
and responses,
carrying a surre-
al quality.
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and - coming
American and
European artists
have succeeded in engaging you in
their'art, making it "active art" by
provoking response, surprise, and
sometimes even horror. They force
the viewer to re-examine situations
in seemingly normal settings.
Carsten Holler's set of pho-
tographs, "Games That Can Be
Played Without Any Equipment or
Materials and That Involve Bodily
Actions, Mental Strategy, Imagina-
tion or Fantasy," suggests ways to
amuse oneself reverting back to the
body-as an instrument of the imagi-
nation. For example "The Coming of
the War Machine" is a document of
a thrashing, kicking, jumping male
who unleashes all his pent up forces,
but appearing almost dance-like, and
yet his agitation captured in -the
blurred photography and title are
suggestive of something else.
Meanwhile, "Toads in March" is~
an exercise played between two peo-
ple along a pier - one holding and
supporting his partner in front by
lifting her to make her legs airborne
so that while he-walks, his knees hit
under hers, making it appear as if
she is also walking in the air.
On another note, "The symmetri-
cal smile" brings to your attention
the motives and degrees of feeling

behind our everyday expression
determined by the symmetry or non-
symmetry found in one's face.
At first glance, Annika Eriksson's
line of work, her three sets of pho-
tographs of groups taken individual-
ly in uniform, may seem as a
misplacement of yearbook photos.
However, upon closer examination,
her subjects: Members of the Stock-
holm Postmen's Orchestra, the
Copenhagen Postmens' Orchestra
and the Connecticut Firefighters'
Pipes and Drums seem to suggest
her infatuation with the idea of prac-
tical men who work in uniform com-
ing together on their spare time to
do something more unpractical in
another uniform (such as dressing
up in kilts and bagpipes to gather
and make music).
Superflexe's Project introduces the
concept of utopian interaction
between a city's digital and real life
citizens in "Karlskrona." Karlskrona
parallels an actual Swedish tow;
well known for its racism and emerw
gence of neo-nazism. As such, a
work of public art was commis
sioned to,alter the town's futur4
developmental attitudes by using
digital vision known as "socio-eco-
nomic integration." The exhibit
holds two images, the first being
one of its real citizens standing in
the city square looking at a billboard
of its virtual citizens. And of course
in the second picture, the actions are
reversed.
A favorite presentation, howeve
was Anna Gaskell's depiction of
"Alice in Wonderland," which elicits
especially conflicting ideas and feelr
ings. A set of four photographs of
young girls placed in a forest set-
ting, the colors (light blue oxford
shirts and yellow apron dresses)
suggest play. Yet, the lighting tech-
niques and actions of the subjects
makes for a highly questionable situ-
ation. The effect is the response of
surprise, the feeling of being
deceived and even horrified. For
example, the first photograph looks
as though it could be directly taken
from a clip of "The Blair Witch Pro-
ject," and moves to the portrait of a
girl being strangled at the end. This
collection of photographs is defi-
nitely open to discussion.

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