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February 22, 2010 - Image 8

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The Michigan Daily, 2010-02-22

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8A - Monday, February 22, 2010

The Michigan Daily - michigandaily.com

8A - Monday, February 22, 2010 The Michigan Daily - michigandailycom

A night of improvisation at
Kerrytown Concert House

By BRAD SANDERS
Daily Arts Writer
Musicians Fred Lonberg-Holm
and Peter Brotzmann see too much
restriction in
playing pre-
viously com- Fred Lonberg-
posed pieces. Holm and Peter
They desire
the freedom Brotzmann
to play beats Tonight at 8 p.m.
and rhythms Kerrytown Concert
spontaneous- House
ly, in the style Tickets from $5
of improvisa-
tion. The duo
will be performing at the Kerry-
town Concert House tonight at 8
p.m.
Lonberg-Holm and Brftzmann
became acquainted with one
another through the Chicago10tet,
an ensemble led by Brotzmann
himself. It was in this group that
their improvisational techniques
were born.
"The Chicago 1Otet evolved over
the past five or six years, where
originally different members
would write pieces for us to per-
form," Lonberg-Holm said. "At a
certain time we wanted to throw
out the scores and just play, and
we've been working that way eves'
since. Peter lives in Germany, and
the ensemble is equally made up
of people from Chicago and from
Europe."
The two decided to collaborate
and go on a tour together after
many successful performances.
Lonberg-Holm plays the cello,
while Britzmann is on the saxo-
phone.
"Peter was coming into town for
a visual arts show he was running,
and he said, 'It would be cool to do
a series ofgigs together,"' Lonberg-
Holm said. "I've played in small
situations with I think just about
everybody in the 10tet. The band
is made up of smaller bands, so to

speak."
Lonberg-Holm believes that jazz
is the music of improvisers, but as
a whole he tries to stray away from
this label.
"You get so many different
things of what the man on the
street would say is jazz," Lonberg-
Holm said. "The word jazz is an
amorphous thing, I'm more com-
fortable not using it at all. It has
been used as a racist, street-jacket
term applied to African Americans,
so musicians in general have been
trying to get away from that. We
play music that's not such a typical
thing you hear. Everything is kind
of new and experimental."
With Lonberg-Holm and
Brftzmann's experience, improvi-
sation has become second nature
to them.
"We just start playing and see
where we end up, and where we
can go," Lonberg-Holm explained.
"He and I do things where there's
specific melodic material and a
rhythmic basis that the music is
goingtogrow out of"
Lonberg-Holm has performed
in Ann Arbor multiple times, and
a large factor in his return is the
respect he has for the Kerrytown
venue.

"Kerrytown has a long, excel-
lent history presenting improvised
music," Lonberg-Holm said. "The
first time I played there was some
day in the mid-'90s. For the last 10
years I've been there on average
every 15 months. It's a place that is
open to presenting different music
and it's a very nice sounding room."
Lonberg-Holm suggests that the
audience have an open mind during
f the performance, as this makes the
overall musical experience more
enjoyable.
Improv music
forms a story
without words.
"It can be kind of a trip or a
story without words, a non-linear
narrative," Lonberg-Holm said.
"The idea in a way is that as soon
as you try to force your thoughts
on other people, it loses them alto-
gether. It's more interesting for
the listener to leave their mind
open so they can put their own
angle on the music."

"Stand back! I'm going Super Saiyan!
'Shutter' with fa

Sc
d
J arr

1
l
1
l
l
j

Fred Lonberg-Holm has performed in Ann Arbor sporadically over the last 10 years.

BAD CREDIT? NO CREDIT? JOIN DAILY ARTS.
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SS^U

Reca
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unkn
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event
clues

orsese crafts a whether the viewer's eye is dis-
cerning enough to spot them.
ark, vivid and The revelation to which those
clues lead borders on preposter-
ing mystery with ous, and the conclusion's absur-
dity makes those hints and signs
mediocre twist all the more priceless to the film's
entertainment value. To spoil
By NICK COSTON their appearances, excruciatingly
DailyArts Writer tempting as it is, would be far more
unfair than revealing the finale.
all your last treasure hunt. Only trust that they exist, and they
nber whether you were filled are awesome.
n exhilara- The audience's entertainment
f the pur- is wrought from the hunt because
hether you the film's ultimate delivery - the
immersed Shutter big, conclusive chunk of informa-
exposure tion that renders all preceding
s and foot- ISland events possible - is disappoint-
whether At Quality16 ing enough to ruin the experience
togeth- if the audience allows it to do so.
e precise What's worse, the film runs for a
bouts of Paramount superfluous final act even after the
aunty was disclosure of the big twist. All the
important than actually tension and unease is unleashed in
ing it. If such memories are one truculent moment and some-
ous to yours, Martin Scors- how the film rolls to the finish line
a film for you. with no air in its tires.
film is "Shutter Island," And oh, that big twist. By now
thriller nor adventure but many people know that "Shut-
ery mired in a thick, eerie ter Island" has a twist. Jerks and
ie titular island is home to buttheads the world over have
riminally insane individu- been revealing the big plot twist
ne of whom, a woman who on the ever-precarious Internet.
ned her children, has some- The victims of this cruelty need
escaped from her cell. U.S. not despair; in fact, he or she will
hal Teddy Daniels (Leon- probably enjoy "Shutter Island"
DiCaprio, "Revolution- a great deal more than someone
Zoad") and his new partner entering the theater with no such
k Aule (Mark Ruffalo, knowledge.
ere the Wild Things Are") A viewer who already knows
eployed to Shutter Island to what's coming can appreciate the
tigate the disappearance. aural and visual intricacies with
orsese once said, "Cinema which Scorsese dots the frame.
natter of what's in the frame one who is ignorant to the conclu-
what's out." If he really sion, merely waiting for the pay-
ves that, then he clearly off, will only frown and complain
ded "Shutter Island" to be that they sat through all those
rienced by an audience of absurdities and dream sequences
tives. What's in the frame and dream-within-dream-with-
rafting cloud of pipe smoke, in-dream sequences for such an
all back of a chair with an impossible resolution.
own occupant. What's out In one such absurdity, Daniels
firm connection between and Aule seek shelter from a fero-
s past and present. Yet the cious hurricane inside a cramped,
are there; the question is stony mausoleum. As long as we're

in here, Daniels offers, here's a
list of reasons why we're on this
island. Here's an informant nobody
has mentioned yet. How interest-
ing, Aule responds. Allow me to
leap headfirst to conclusions with
the wind and orchestra acceler-
ating around the growing para-
noia beneath our fedoras, and we
shall proceed under such enor-
mous assumptions. Toward the
end of the film, a character liter-
ally wheels out a chalkboard and
explains the connection of this
thing to that thing.
one of the most elementary
ingredients in filmmaking aesthet-
ic is called matching on action. Ifa
character is shown raising an apple
to his mouth, the next shot will
show him taking a bite, and the
shot after that will be the apple in
his hand lowering to his waist. The
conclusive action to which the shot
cuts must match the shot that pre-
ceded it - directionally, spatially,
temporally. Matching on action
preserves a film's sequential conti-
nuity. To ignore this rule - to skip
the bite - would prove immensely
disconcerting to the audience.
Naturally, Scorsese doesn't
just disregard this law, he aggres-
sively violates it. Throughout the
film, Daniels will hear a noise and
his head will already be turned
when the shot cuts, or his wife
will approach him with arms out-
stretched and suddenly they're
already locked in an embrace. It's
unnerving, it's clearly purpose-
ful, and it makes the audience look
around and wonder if anyone else
saw it. In a movie about a missing
crazy person on an island full of
crazy people, Scorsese makes the
viewer feel like the crazy one.
"Shutter Island" is wholly
arresting. Its artistry succeeds
on a level that contemporary hor-
ror films can only achieve in their
dreams. And though its surprise
is undeniably disappointing, the
manic path that leads to its conclu-
sion is only further thrilling evi-
dence of Scorsese's mastery.

0
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Tim Burton's "Mary Poppins," coming to a theater near you.

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