The Michigan Daily - michigandaily.com Tuesday, February 2, 2010 - 5 The Bad Plus has been praised by critics for its inventive and creative style. Jazzy masterpie 'U' professors analyze the evolution of jazz by way of up-and-coming jazz trio The Bad Plus By HEATHER POOLE For the Daily What does it take for a song or perfor- mance to earn the prestigious title of "mas- Masterpieces terpiece?" A program Revealed: from the University Musical Society, "Mas- The Bad Plus terpieces Revealed," is dedicated to uncovering Tonight at 7 p.m. the elements requisite to UMMA Commons such acclaim. Tonight, Free one such element will be explored in particular: inventiveness. Professor of Jazz and Contemporary Improvisation Andrew Bishop, along with Professor of Music Theory Andrew Mead, will lead tonight's session devoted to the music of up-and-coming jazz trio The Bad Plus, comprised of bassist Reid Anderson, pianist Ethan Iverson and drummer David King. Since the group's debut in 2000, its inventive and creative performances and adaptations have gained national recogni- tion from music publications like Rolling Stone and The New York Times. The series is designed to examine the work of artists included on the UMS bill of performances, and this lecture accom- panies The Bad Plus's concert at the Lydia Mendelssohn Theatre on Thursday, Feb. 4. The University of Michigan Museum of Art plays host to tonight's presentation, and its website describes the lecture series as follows. "In the 'Masterpieces Revealed' series, local artists provide a step-by-step explora- tion of some of the artistic works presented on the UMS season through live perfor- mance and discussion, deconstructing the nuances of performance and explaining what turns a piece into a 'masterpiece.'" Even though it's often classified as a "traditional" jazz group, The Bad Plus transcends this label, moving into the ter- ritory of the musically masterful. "The Bad Plus uses a traditional jazz piano trio (piano, bass and drums) but per- forms music from a wide variety of artists, not just jazz composers," Bishop wrote in an e-mail interview with The Michigan Daily. Bishop's program will incorporate a live performance by The Bad Plus and a discus- sion with Mead and University students. "I will be breaking down why artists stray from the standard repertoire, such as composers like Duke Ellington," Bishop wrote. "I will mostly be talking about why jazz musicians are interested in exploring musical landscapes outside the traditional jazz format." In addition to his extensive knowledge of jazz, Bishop has personal relations to The Bad Plus from past collaborations with Anderson that should give his com- ments some particular insight into the trio's musical inspiration. "Reid is an amazing musician. We did one recording together - Gerald Cleaver's 'Adjust.' He is an extremely versatile musi- cian," Bishop wrote. Like Bishop, Mead is interested in how The Bad Plus breaks through traditions in music. In demonstrating the originality of its music, Mead and Bishop will focus on The Bad Plus's rendition of Milton Bab- bitt's "Semi-Simple Variations." "Babbitt is known - is even notorious - for writing music that is highly structured and not immediately appealing - at least to the average concert-goer," Mead wrote. "So for a jazz group to be playing his music would seem really contra-intuitive." Mead attributes the success of The Bad Plus to its distinctive approach to jazz in comparison to historical traditions. This atypical musical style can be seen in the group's adaptation of "Semi-Simple Varia- tions." "Obviously, things like free jazz and other developments over the past 50 or 60 years have enlarged and enriched the range of possibilities in jazz, buta continu- ous thread throughout has been the idea of improvisation," Mead wrote. "(The Bad Plus), in playing Babbitt's piece, is playing an interesting game with this tradition, in that they are presenting, for the most part, a straight-ahead reading of a fully notated piece for solo piano," he wrote. Mead also commended the way The Bad Plus successfully adapts "Semi-Simple Variations" to its own style. And really, that's what this presentation is all about: how jazz is being interpreted by modern music makers. It will explore how the jazz musicians of today are mak- ing new masterpieces based on how the cool cats used to jive. The program, while music oriented, is not particularly techni- cal, Bishop said, and should allow students from all different backgrounds to learn from it. Trending Has anyone other than my fellow TV lovers at the Daily real- ized how many ghost-hunting shows are on TV these days? "Ghost Lab," "The Haunted," "Paranormal Cops," "Ghost Hunters" and its spin-offs "Ghost t Hunters Interna-4 tional" and "Ghoste Hunters Academy" all came out fairly CAROLYN recently (with the KLARECKI exception of the orig- inal "Ghost Hunters," which aired in 2004). And because networks keep spewing out this repetitive programming, I guess someone must be watching and enjoying it. But let's be honest, "Ghost Hunters" isn't a brilliant and incredibly well exe- cuted concept. And even if it were, does anyone appreciate the products of dirty idea-stealing and show-copying? Hopping on the good-idea bandwag- on isn't anew thing for TV. It's really to be expected these days. Before ghosts, we had dancing. "Dancing with the Stars" came out the same year as "So You Think You Can Dance" and not too much later the world was blessed with a lesser-known gem "Pants-Off Dance- Off." Based on titles alone, I think we all know which one isn't around today. Sometimes the drama surrounding having a stake in the next big thing is more exciting than the shows that come of it. Remember NBC's "The Singing Bee" and FOX's "Don't Forget the Lyrics!"? The concept was exactly the same, they premiered within one day of each other and they were both hosted by charming B-list celebrities (comedian Wayne Brady for FOX and former 'N Sync member Joey Fatone for NBC). Neither show was spectacu- lar, but the race to air first was epic. And when we've passed the point of network competition, we get rein- carnates. "If you loved this show, just wait for our 40 dozen spin-offs!" the networks scream. We're practically assaulted with competitive reality shows that can be described by inter- changing the words "hair stylist," "fashion designer" and "chef." Not only do we have "CSI," "Law & Order" and "NCIS," but we also get "CSI: NY," "CSI: Miami," "Law & Order: Special Victims Unit," "Law & Order: Criminal Intent," "Law & Order: Crime & Pun- ishment," "Law & Order: Trial by Jury" and "NCIS: Los Angeles." It's frustrating. When I turn on the TV, I don't want to be bombarded with the same show reinvented and repack- aged as though the network executives think I won't noticed I'm being fed leftovers. But before we give up on TV, let's take a look at the larger picture. Trending is common in all forms of art. Novels have undergone romanticism, realism and transcendentalism. We have cub- TV topics ism, impressionism and pop art in the realm of visual arts. And music has been revolutionized by rock, soul, hip hop, grunge, indie, techno and scores of other genres all in the past 50 years. But no one ever complained that Tho- reau totally copied Emerson and no one ever got sick of Picasso's repetitive style. And even though lo-fi indie bands with buttery smooth melodies and haunt- ingly poetic lyrics outnumber water molecules on Earth, tons of people still listen to and love the sound-alikes. These trends are considered "move- ments," but television doesn't get the luxury of a pretty title. In the fine arts, the creators are allowed to expand upon ideas and concepts from each other without criticism, but on TV it's brand- ed as repetitive, annoying and even insulting. No one is going to call the onslaught of ghost television a "move- ment," because quite frankly, that's ridiculous (what movement would that even be? Paranormalism?). TV can be an art, and in my mind has every right to undergo movements. But there are good reasons why TV is especially prone to It's all about the Benjamins, but it shouldn't be. the type of criticism I'm talking about. TV is inherently commercial. While writers, musicians and other artists create primarily for themselves and personal expression, TV is created as a commodity. When was the last time you heard the creator of a TV show say "I make the shows for myself?" Some TV creators honestly do love their stories and jobs, but there is little room for creative expression and experimentation in the TV industry, which relies on ratings much more than music and film, both of which have strong indie markets. Artists should support each other's work, but network competition and ratings create bloody battles to the death - we all saw what happened to Conan. What the industry needs is a little more love and tenderness. Shows need to be created for the sake of creation, expression and joy. TV needs people who are passionate about telling sto- ries, capturing them ina compelling way and sharingthem with the masses every week. And while a strong love of the small screen probably isn't enough to disrupt 50 years of trying to make big money off cheap programming, it's a step in the right direction. If more people treat TV as an art, a movement will swiftly follow. Klarecki has a guest spot on "Law & Order: Get the Bad Guy." To congratulate her, e-mail cklareck@umich.edu. Paranormally terrible Corinne Bailey Rae sails a stormy 'Sea' By LINDSAY HURD For the Daily It's not every day a show opens with the line "Normal cops by day, paranormal cops by night. We don't rest until your case is closed." "Paranormal Cops" shows us why. The producers of this Paranormal new A&E program want- COPS ed to put a new twist on the typical show about the Tuesdays paranormal (a broad topic at 10:30 covering everything from A&E psychic kids to haunted houses), so they opted to put two common TV ideas together: cops and ghosts. While the notion is unique, there's a reason this show hasn't been done before - it just doesn't make sense. This new reality series follows Sergeant Ron Fabiani and other off-duty cops as they drive around in a van and "help" people who have unruly ghosts living where they work. Their first client is Roger, a nighttime security guard at Big Timers Sound Shop, who feels a "presence" when he's working his shift. This presence has apparently got- ten so bad that he wants to quit his job, but can't because of his wife and kids. So what does he do? He calls in the Paranormal Cops, of course. For lovers of cop shows, "Paranormal Cops"=apes programs like "Cold Case" that investigate crime scenes and work to put offenders in jail. But in "Paranormal," the criminal is a ghost and the team never does anything to get rid of it. Nothing is solved and criminals are not locked up. Unfortunately for paranormal aficiona- dos, the actual "ghost" encounters are obvi- ously faked by a team of producers. Videos of dust or bugs flying around at night are presented as spirits and any hint of activity in the warehouse is so'exaggerated that it's cheesy and hard to watch. The team looks plain crazy as they discuss how to figure out if a ghost is present and where it came from. Beret? Check. Cigar? Check. Ghosts? ... Shit. Needless to say, Roger is probably the sanest character on the show. The tackiest part of "Paranormal Cops" is when the task force investigates the shop ina nighttime walk-through with the assistance of a medium who uses ridiculous phrases like "I feel a weird presence in this room" or "There is something that I'm not fond of" to convince the viewers of a spirit's existence. The crew uses questionably legitimate high-tech equipment that lights up when- ever a ghost is near. The combination of 'Go fuck yourselves' -A made-up ghost. this "ghost communicator" gadget, which looks like an old-school snake light, and the medium's interpretation of ghostly messag- es results in an overly dramatic, obviously unreal investigation. By the end of their stakeout, the Sergeant and company bump into a spirit who says the word "Rosario" a few times. The crew's background research conveniently reveals that Big Timers was once a mafia casino run by mobster Rocco Debrazia, who was murdered on the premises. Rosario was the name of his best friend who would. often come into the casino. What a shocker. The only hint ofanythingentertaining(but only because it's the most idiotic thing ever) is the moment when Sgt. Fabiani and Roger review sounds collected from the former crime scene. Instead of whispers of murder or how the ghost died, Rocco's ghost instead tells the cops to "Go fuck (themselves)" During the wrap-up meeting, Fabini and his team conclude that ... wait for it ... ghosts exists in Roger's workplace. Yes, let's do an entire show about how there is a ghost inhabiting this building only to conclude there is an actual ghost. Apparently, the producers of this show are geniuses too. Is "Paranormal Cops" actively trying to make itself look idiotic and pre-scripted? If this is what Fabiani and his gang do with their spare time to contribute to""pub- lic safety," someone should tell them to geta real hobby. By SHARON JACOBS AssistantArts Editor The sea, according to English song- stress Corinne Bailey Rae, is a brooding and melancholy place. Rae's solitary journey * into the open ocean on her new release The Sea Hin1 comes two years after her husband's fatal Bailey Rae methadone and alcohol The Sea overdose. This back- story is essential to the Capitol album, which repre- sents a departure from the cheery inno- cence of Rae's self-titled debut. "He's a real live wire," Rae says of her late husband in the first line of The Sea. The opening is a little creepy and dark, but Rae's intimate voice immediately wraps the listener in. Murmured memo- ries of her husband's eyes and the taste of summer build toward the plaintive cry of the track's titular line "Are you here" - there's no question mark. We already know the answer. As is typical of Corinne Bailey Rae, the song feels like a glimpse into a very pri- vate and personal moment. Listening to "Are You Here," the subsequent rumina- tion "I'd Do It All Again" and many of the other songs on The Sea is like overhearing Rae's real-time attempt to come to terms with her husband's untimely death. But instead of watching from a distance, we feel the pain and confusion alongside her. Rae is neither a Beyonc6-fabulous R&B diva nor a drama-crazy pop star. Though most of the songs on The Sea are poppy in structure, Rae has the delicate touch of an indie singer-songwriter, baring her soul in a classy and relat- able way. Her pitch-perfect voice can carry itself with minimal instrumen- tation, as she proves on harmonically simple tracks like "Love's On Its Way." Anchored by a light guitar-and-percus- sion backing, Rae spreads her voice thin for an angelic effect in the gracefully ascending chorus, only to slip back into a thick, mournfully tuneful texture in the verses. Though all its tracks are tenderly nos- talgic, not everything on The Sea is mired in tragedy. "Paris Nights/New York Mornings" fondly recalls carefree days in love. The song is reminiscent of some of the peppier songs on her first album, but the images are more mature - "I can see the lights from the restaurant / I couldn't quite perfect that nonchalance / Paris and champagne like warm brown sugar cubes." Corinne Bailey Rae recalled sum- mer youth and first love, while The Sea seems to come several lifetimes later. It's like the calm after the storm of grown-up calamity. Often dark and heavy, The Sea might throw off fans looking for lighthearted fun. The deep, low opening and urgently fluttering piano chords of "Feels Like The First Time" reveal a restless poignancy, and the song ends without any melodic or lyrical closure. "Paper Dolls" has a simi- larly pressing, urgent feel. Heavy key- board harmonies and a solid drumbeat underscore a story of a girl realizing her own potential too late to change. There's no "Put Your Records On" here - Rae's 2006 radio hit about self- love, "sapphire and faded dreams." But The Sea is a satisfying release from - and for - an artist sure to stay on the musical radar for a long time. It's a sad story, but one that makes for stirring art. And by the end of the delicately building album closer, it's clear that Corinne Bailey Rae has come to peace with "the majestic sea (that) breaks everything, crushes every- thing, cleans everything, takes every- thing from me."