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March 22, 1991 - Image 8

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Publication:
The Michigan Daily, 1991-03-22

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Page 8 -The Michigan Daily - Friday, March 22, 1991

"live" funkmanship without any
"regressive" sampling. While Hol-
land's acoustic bass doesn't always
figure into Coleman's album, he
gets top billing on his latest record,
Extensions.
Holland's purposefully abrupt
bass plays a perfect foil and provides
the necessary impetus for Eubank's
sometimes eerie, sometimes evil
guitar on "Nemesis," while his ex-
tended solo on "Color of Mind" is
incredibly inventive without sacrific-
ing forward motion. Like Mingus'
Jazz Workshops, Holland is the cen-
ter of the collective improvisations.
He is clearly the leader, in that his
bass pushes and pulls Coleman and
Eubanks into the areas that he wants
them to venture. Holland and Smith
don't just provide rhythmic accom-
paniment; their skittering fills pro-
pel the music without dominating it.
THE DAVE HOLLAND QUARTET
appears at the Ark tonight for two
shows, at 8 p.m. and 10 p.m. Tickets
are $12.50, $10 for students, avail-
able at the Michigan Union Ticket
Office.

Inner City
Fire
Virgin
New York. Los Angeles.
Nashville. Seattle. Chicago. Min-
neapolis. Athens. Detroit. All these
cities are hubs of new and creative
music, but Detroit? Yes! Remember
Motown? Remember the soulful
sounds of Smokey, Diana and Ste-
vie, just to name a few?
"Yeah sure, but what about to-
day? What the hell comes out of De-
troit today except for crooked cops
and burnt-out buildings?" you might
ask. A lot, and one of the best musi-
cal groups to come out of the Motor
City in a long time is Inner City, a
group that put Detroit back on the
musical map back in 1988 with a
distinctive style of dance music.
What was this thing called the
"Detroit Techno" sound? It wasn't
quite house. It wasn't quite acid. It
was different. There were fewer
beeps, chirps and computer-generated
sounds. The basslines were extra
deep and eitra funky. The strings in
the background were thick and lush.
And where did they get all of those
great singers?
This "Techno" sound reopened
many eyes and ears to Detroit, and
one of the first groups to be seen and
heard was Inner City. On their sec-
ond Big-Time release, Fire, musi-
cian Kevin "Master Reese" Saunder-
son and singer Paris Grey show that

they certainly haven't lost their
touch at making some solid dance
grooves.
Fire has quite a few groo-vy
tunes. Among the best of these i$4
"Hallelujah." The upbeat bass aid
drums are not clean and processed,
but rather low and dirty. And on top
of this is Grey's silky voice and
smooth strings. This killer comma
brings out even the weakest desire to
get up and dance.
"What Does It Take" is another
great track on the album. Althoug
it straddles that fine "Let's be trendy,
and have a guest rapper on a song'
line, it nevertheless works well, un-
like most of the other above-men-
tioned songs. The guest rappers-.on
this song are "2 the Hardway'
Shaye T and A.J. Of course, they rap
about how the brothers dis' the sis-
ters, but their voices are light and
young, which adds even more of-a,
comical feel to an already fun song.
The only problem with Fire isl
that about half the songs tend to f3l1
into "that" popular dance formula:
The bass and high hat start t4-=
"Boom, tss, Boom, tss..." -the
bassline is deep and repetitive, the.
strings are lush but simple, the.
lyrics are about lost love. Does this
sound familiar? If I hear one moart
stabbing piano melody - aaaaaaghW
Fire: dance music, yes; chock'.
full o' butt-wigglin' grooves, no.
-Richard DdWV&

The Dave Holland Quartet (left to right: Steve Coleman, Dave Holland, Marvin "Smitty" Smith and Kevin
Eubanks) fuse modern musical elements (like funk) with more traditional jazz and blues.
HOLLAND

. ._

Continued from page 5
album attempts to link the jazz tradi-
tion with hip-hop culture through

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Sun. Mar. 24
Mon. Mar. 25
Tue. Mar. 26
Wed. Mar. 27
Wed.-Sat.
Mar. 27-30
Thu. Mar. 28

Faculty Piano Recital
by Nina Leichuk
Medtner: Sonata in a-minor, op. 38, "La
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Liadov: Variations on a Theme by Glinka,
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Michigan Youth Organizations
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Mozart: Symphony no. 36, "The Linz"
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Northcoast Jazz Ensemble
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Edward Sarath, director
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Master class with David Liebman

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