September 22, 2004
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MARSALIS TOOTS HIS
HORN IN ANN ARBOR
By Cyril Cordor
Daily Arts Writer
THE HOTTEST PICKS IN ENTERTAINMENT
FROM A DAILY ARTS WRITER
Sondre Lerche - I recently saw this Norwegian guy on "Conan,"
and now I'm having trouble getting his catchy, yet intricately lay-
ered pop tune "Two-Way Monologue" out of my head.
"The Pimp of Sound" - Hands-down the greatest alias for a bud-
ding musician. Look for "The Pimp Of Sound" playing "Splinter
Cell" on Xbox Live. Ironically, he does not use a microphone.
S Beer Pong with Caps (Beirut) - Ping-pong balls are so out. Most
call this variation Beirut, but I call it a thorough beating with my
caps of choice: Bell's, Rolling Rock and Dogfish Head. I hope
you're thirsty, punk.
Wynton Marsalis and the Lincoln Center Jazz
Orchestra riveted the relatively tame audience
with their outstanding performance on Friday
night in Hill Auditorium.
The full breadth of the impact of jazz could
be seen that night by the array of different peo-
ple entering Hill Auditorium: There were older
patrons in formal attire and younger students in
sneakers and shorts. The orchestra played piec-
es from two major works of the swing era; first
Benny Carter's "Kansas City Suite" and then
Duke Ellington's "Black, Brown and Beige."
First up from the "Kansas City Suite" was "Vine
Street Rumble." Pianist Eric
Lewis slowly started off the
piece, then Carlos Henriquez
and Herlin Riley followed on
the string bass and drums,
respectively. With a nice
trotting tempo and swing,
the orchestra soon filled the
entire auditorium with trum-
pet trills and crisp trombone
Friday, Sept. 17
At Hill Auditorium
"Ice Hockey" for the original Nintendo - Due to the NHL
lockout, "Blades of Steel" is no longer the reigning hockey title
for original Nintendo. Like the World Cup of Hockey, "Ice Hock-
ey" is an international affair with teams like Czechoslovakia,
Canada and the Soviet Union. It's also the first hockey game to
allow players to customize their
lineup with skinny, medium or
Jazz trumpeter Wynton Marsalls.
One of the many highlights
of the night was "Miss Mis-
souri." This piece had a wonderful melody which,
at its core, was comprised of a four-note pattern
theme by the bass. The audience could feel the
energy emanating from the stage by the anima-
tion these swing virtuosos showed. Marsalis and
the drummer, Riley, looked at each other nodding
their heads and just vibing to the rhythm. Mem-
bers of the orchestra yelled "What!" and "Yeah!"
and made grunting noises. Through all of this
excitement, most of the crowd was motionless
until the end of someone's solo when the audience
In between pieces, Marsalis entertained the
audience with anecdotes and jokes. Marsalis dis-
played the characteristics of not just a great musi-
cian, but of a great entertainer.
After the intermission, Marsalis announced
that they were going to play pieces from Duke
Ellington's opus. Imitating the sound of a tim-
pani, Riley picked up some mallets and struck
the toms to begin "Black." Ted Nash on alto saxo-
phone performed a very moving solo that touched
everyone with each passionate note. At various
parts of this piece, a locomotive train could be
heard, which is one of the innovations that Duke
Ellington was known for creating with jazz.
The orchestra concluded with three pieces from
the movement "Beige," after which the crowd
gave a boisterous standing ovation as the orches-
tra walked off the stage. While the crowd was
cheering "Encore," the trumpet section, pianist,
bassist and drummer came back for an improvisa-
tional session where the crowd severed its social
restraints. The audience cheered and applauded
each trumpet player improvising to the backdrop
given by Lewis, Henriquez and Riley.
The conclusion that everyone leaving Hill
Auditorium had drawn from such an event is that
jazz recorded on any type of medium just does
not do the genre justice. It was simply great live
music played by great musicians.
Talking Heads - I'm
typically way behind K
the times (Sondre
Lerche's album hit
stores in March), so
it's no surprise that
my Talking Heads
kick has just
friend is Bet-
better live, but
the studio ver-
sion of "Once in a Lifetime"
off of Remain in Light.
Courtesy of Nonesuch
legend plays Hill
By Rachel Berry
Daily Arts Writer
Snow Patrol hit the right notes
Considered the "Godfather of World Music," legend-
ary composer, sitarist, teacher and writer Ravi Shankar
was a close friend of George Harrison and influenced The
Beatles. His film score for "Gandhi"
was nominated for both an Oscar and
a Grammy. He was the recipient of
the Presidential award, two Grammy
awards, 12 doctorates from esteemed
universities the world over and India's
highest civilian award, the "Bharat
Ratna" (Jewel of India). He has also
collaborated with masters such as
Thursday at 8 p.m. Ravi Shankar strums the sitar.
At Hill Auditorium
Yehudi Menuhin, Andre Previn, Jean-Pierre Rampal,
Philip Glass and Zubin Mehta. At age 84, he has not only
transformed the face of Indian music and innovated new
sounds, but he has also bridged two musical cultures in a
way that no one before him has ever done.
Professor Stephen Rush will conduct a free public inter-
view with Shankar today from 6 to 7:15 p.m. at Rackham
Auditorium. Rush says he was both humbled and a little
scared when he was asked to conduct this rare interview
opportunity. He calls Shankar "the most important musi-
cian in history, not just of Indian music or of the 20th cen-
tury." During the interview Rush will mention Shankar's
importance to both music and history as well as to India
and the West's understanding of India. Rush will also ask
Shankar about his relationship with The Beatles.
For the featured concert tomorrow at 8 p.m. at Hill
Auditorium, audiences should come prepared. "Realize
that the music is just like India; it takes a lot of patience,"
Rush said. It is advisable to listen to some of his music
before the concert to understand the complex melodies
and importance of rhythm. Shankar plays spiritual music,
so take an hour before the concert to wind down. "If you
are nervous, the music will sound even more foreign,"
At the concert, notice the play between the musicians
and how they improvise. These interactions resemble jazz
performances. Finally, sit back and enjoy. "What makes
him special is almost impossible to describe," said Rush.
rently riding the
wave of success
their latest album Snow Patrol
Final Straw Saturday,
has garnered, September 18
the four native At St. Andrew's Hall
Scots spent Sat-_
St. Andrew's Hall with pieces of
remorse and angst.
Drawing heavily from Final
Straw for the night's playlist, Patrol
laid down a strong performance
that possessed every trait of their
CD and also included an added dose
of intensity that made each song
resonate. Lead singer Gary Light-
body was, front and center, a walk-
ing paradox. Sounding the part of
the troubled troubadour - utilizing
muttering and moaning vocals dur-
ing some of the band's more dramat-
ic or emotional songs - Lightbody
Honey, I shrunk the Indle rock band.
moved about the stage with a conta-
gious excitement and fervor.
Part of Snow Patrol's main appeal
is the simplicity of the underlying
beats that drive their songs. Drum-
mer Johnny Quinn slammed through
each song with a steady, clipped pace
that the other instruments marched
along to. Bassist Mark Mclelland
moved in and out of the shadows as
shifting lights cut through the fog,
adding to the toned-down nature of
the evening. Even though the lyr-
ics from their hit single "Run" state
"Why can't you shoulder the blame /
'Cause both my shoulders are heavy
from the weight of us both," Light-
body was diving here and there with
Because of the sound of their
music, it is easy to say Snow Patrol
mimics The Stills or various other
guitar-driven bands that delve into
emotional themes. What distin-
guishes Lightbody and company
from the rest is what also comes out
strongly in their live performance.
With music today so rooted in pos-
turing and having "the look," there
is a bare honesty in the work of
Snow Patrol as they refuse to box
themselves into any sort of feigned
presentation. Nearly the entire
show stood as a presentation to the
audience of artists enjoying their
Still lacking the solid name rec-
ognition possessed by other indie-
rock bands, Snow Patrol is still
capable of performances worthy of
venues and audiences three times
their current draw. In presenting
songs nearly exclusively from their
latest CD, the band could have per-
formed exactly what their fans can
hear at home. Snow Patrol instead
showed the problem in the record-
ing studio's inability to recreate
the live experience, displaying to a
Detroit crowd that it's not necessary
to be revolutionary in your music if
you're damn good at playing it.
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