The Scarlet 84 Black, Feb. 9,1979 page 6

 

Kuhn gigs in South Lounge

by Pico Bron ii

The modern JaZZ heard in South
Lounge Saturday was courtesy of
The Steve Kuhn Quartet. It was
well played. tight, and showed fair
to good jazz spontaneity along with
‘d slreak of Iunkincss.

Pianist Kuhn was, of course,
quite elegantly able to expound his
talents, but I think it was his side
persons which provided the real
excitement that made the concert
at the very least. a pleasant way to
spend a few hours lone hour
waiting to gain admittance to
South Loungefollowed by an hour
and a half of Concert was the order
of the day). The musicians scemed
in good spirits and apparently
enjoyed their own sounds, which is
saying something these days. Here
are some more things possibly
worth saying.

THE BAND OPENED with a
Steve Swallow composition called
“Eiderdown.” It resembled the
classic mid-60's jazz school in
which some of today's iazzman
developed, Chick Corea's “Tunes
for Joan’s Bones” came to mind
throughout this number, which
oscillated between stated and
implied rhythm~an interesting
effect.

Polyrhythms adorned the next
number, “Random Thoughts,”
which is a Kuhn composition. Here
I'll admit my unfamiliarity \Vith
Kuhn's musicibut please, I
beseech you, keep rearing, I'll be
fair and do him Justice, don't
worry. Anyway, Steve Schlegel's
ﬂute opened the number, with
drummer Bob Moses consequently
prowding cross-rhythms and
bassist Harvey Schwartz holding
things down with an elegant
walking bass.

TIIE SOLOS WERE evidently
virtuosic but nothing mind
blowing; Kuhn engaged in some
Wild Keith Jarrettrlike runs on the
upper register of the piano, and
Schlegel's sax solo was UK, He did
an awful lot of honking and atonal
skwawking iI know, I know, it's hip
these days) but failed to make the
solo swing about half the time. His
phrasing was decent though. I
guess, High points of this number
were the chordal buildup to a
frenzied. thrashing climax, and
Schwartz‘s flmd bass solo.

Sheila Jordan made her debut in
the next number. “Thoughts of a
Gentleman." another Kuhn
composition. Soft, slow piano riffs.
proiided the background for the
singer's airy, rather saccharine
voice. The melody and 307
coiiipanimcni was definitely a new

 

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experience for me. and held my
attention more than Sheila's lack
of good jazz phrasing and absence
of vibrato did,

ANOTHER KUlli’ composition,
“Pearly's Swine," Iollowed. Funk
was the term which came to mind
here. its repetition. compared to
the complex meandering oi
previous numbers. almost made
me want to snicker. The singer's
primal screams which were ace
tually vocal improvisations were
really bizarre to hear. Her voice
finally showed some power and
depth on some of her louder
forays.

The piece ended with a Splendid
deceleration and the last few bars
were quite tranquilea stunning
effect. The funk beat returned.
however. as a coda seemingly was
now in store for us More wailing,
shaking soprano sax riffs belched
from the mouth of Mr. Schlegel,
and more clenchrmouthed vocal
improvisations followed.

KUIIN‘S ”Time to Go" followed,
which was a pretty straight-
forward, slow, soft number. The
lyrics, which somehow were
connected with ﬂeeing iii general,
were just made for Sheila’s airy,
ringy voice.

A solo piano break followed
Steve jammed nicely on some
modern chord progressions and
really seemed to bring new colors
and textures from the piano. His
fondling of the damper pedals was
particularly amazing.

HARVEY SCHWARTZ'S tune
“Firewalk” was the next number.
A very swinging, driving tune it
was too. as Schlegel showed more
wild emotion and less profundity in
creating a nice wailing Solo. Bob
Moses' drum solo was the apogee
of this number. It was structured.
frantic, and interesting, though he
got hung up a bit on the thudding
tom-toms. Its flailing, crashing
climax (he really beat the hell out
of those drums) was stupendous
Without being overly pretentious.

Charlie Parker's “Cons
firmation" was next. Its lead-m
was a fine bass solo by Harvey
Schwartz His use of latin rhythms
and sweet melody lineS contrasted
well with a more contemporary
atonal section which was to follow,
The solo then slid smoothly into the
walking bass line of “Cons
lirmalion" over which Shiela
Jordan’s vocal improVisations
weaved a strange rhythmic pat-
tcrn It evidently sounded as if she
were reciting Charlie Parker's sax
solos. yet she sounded more in,
leresfmg the less 'shc strayed from

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the mam motif of the song.

AS. TIIE BAND made their en- ,

trancc, another Schwartz study in
honking and wavering. and a
superb this best of the night) be
bop piano solo by Kuhn were
heard This number was very
groovin n general and was a good
way to end the'gig.

“Life’s Backward Glance,"

which was the encore. was not as ,

Strong a finish. It was a rather
slow»moving. almost dragging
piece, and was pretty bizarre both
miisicaly and textuolly, Still. it was
different.

Good sound in general. some
interesting innovations, and some
inspired soloing were the events
which transpired Saturday night.
Though some minor flaws wcrc
somewhat evident lthe group was
a bit on the loud side. for example)
pretentiousness was avoided. and
sincerity omnipotent. r\iid that's
saying something these days.

KDIC spoolo

progfommln 9

Consumers beware

Highlighting this week's KDIC
special programming is a program
entitled “Consumer Conditioning"
with lvan Illich According to
Illich. education (along with
medicine. leisure, and travel) has
been depersonalized by
professionally packaged programs
designed to “hook" consumers on
worthless services and useless
commodities.

Other special programs include
a talk with Margaret Mcad.
recorded shortly before her death.
in which she speaks out on several
contemporary issues Also. Robert
Gariias‘ program on the endrblown
flute, voted one of the ten»best
NFCB programs of 1978, is
featured.

Feb. 5). 7 p.m.—Tiie

, night Report with Jerimiah
Whitten.

Friday, Feb. 9, 7:30 p.iiiriBBC

Sciciicc Magazine.

Sunday. Feb. ii. 7:30 pm—
Pacific “Consumer Cone
ditioning" and the Margaret hicad
interview

Monday. Feb. 12. 7:.‘l0 p.iii.—
Ltiinoiiiiisiccingy With Robert
Garfias. Thc End'BlDWli Flute.

I‘Imldzl), Feb. l2, iiiidniglll»l
3411.7 The Midnight Theatre with
Tim FinnfY Sherlock Holmes in
“The BrucePartington Plans"
and “A Scandal in Bohemia."

, , 1, ' :ill p.iii.7

‘The Bread

and Roses Concer Part TWO"
with Tim Hardin and Tom Paxton,

Wednesday, Feb. f4, 7::ffi p.iii.—
Progressions with Professor Lee
Cloud,

Thursday. Feb. I5. 10:30 am.»

 

Pacific. rebroadcast
Thursday. Feb. 15. :itl p.m.7
Jazz with Professor John Jensen.

‘Rain,’ Kane top weekend fare

RobinRadespicl

This week Grinnell is host to
three film classics, singin- iii the
Rain. C en Kane. and Rebecca,
each an outstanding example of
its respective movie genre. The
films share impeccable casting,
effective directing, and brilliant
photography.

Singin' in the Rain (1952, 103
mins.), a fast-paced, light-hearted
musical, Starts Gene Kelly, Donald
O'Connor, and Debbie Reynolds.
The song and dance numbers
combine with a script parodying
Hollywood in the roaring twenties
to produce the best musical of the
1950's and one 01 the best of all
time,

THE STORYLINE IS a Satire on
the manners and mores of
Hollywood’s elite during the
changover from silent pictures to
talkies, Kelly. who Codirects the
film, is charming as the ex-
vaudevdiian making it big on the
silent screen.

Kelly is teamed with Donald
O'Connor. whose comedic perr
Ioi‘mzince and nimble 'dancing is
outstanding, though often
overlooked

TIIE CIIOREOGRAPIIY
film
routines to a tribute to Busby
Berkeley to semi-abstract ballet.

The film. as sheer en-
tertainment. ranks among the best
and is considered Kelly’s
masterpiece For an evening of
comcdy and music. Siiigiii' in tho
Ruin can’t be beat,

CITIZEN KANE (Iii-II, II9
mins.) produced and directed by
Orson Welles. is considered by
many critics to the best film of all
time. Although the film won the
Academy Award for “Best
Screenplay," it is more often
recognized for its innovative
cinematic techniques. It is in this
area that the film marks the
coming of a new era in film

in the

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ranges from vaudevillel

making.

Herbert Mankiewicz‘s script
which focuses on publisher Charles
Foster Kane, parallels the life of
newspaper magnate William Ran-

dolph Hearst.
INNOVATIVE CINEMATIC

techniques distinquish this film
from others dealing with the same
theme. Welles, along with Hitch-
cock, pioneered in the use of
varying camera angles, flashback
sequences, and Chiaroscuro
photography. With regard to these
innovations, Citizen Kalle has been
called “ a cinematic box of tricks”
and a classic of modern film.

Orson Welles, is convincing,
although often overwhelming, as
Kane. The cast includes Joseph
Cotten. Agnes Moorehead, and
Ruth Warrick.

ALFRED iIITCllCOCK's con
tribution to this week’s film
calendar is iicoccca (1940. 130
miiis.l. his first American film.
Winner of two Academy Awards
(“Best Film.” “Best Photo,
graphy"), the work is widely re»
cognized as “commercial film
making at its best ”

The film. adapted from Dapliilie
dii Maui'ler's popular English
novel. stars Laurence Olivicr as
lvfax dc Winter. a wealthy
f Englishman and Joan Fontaiiie.

young American bride The
.mystery surrounds dc winter's
former wife Rebecca. a beautiful.

 

seemingly Virtuous woman who
died, tragically and suspiciously,
some time ago. Nothing at Mon-
derley (dc Winter's estate) has
been changed since Rebecca died,
and her memory continues to
haunt the recently married couple.

The black and white
cinematography, with its emphasis
on contrast and shadows, is ex-
cellent. clearly worthy of an Oscar.
v’rhe photography strengthens the
theme of the film in its literal
representation of the conflict
between good and evil, light and
dark. Rebecca is a fine example of
film as boui art and storyteller, a
Hitchcock classic that shouldn’t be
missed,

Do: Ellint'

Pick to Click
“Watch Out For Lucy"
Iiy Eric Clapton
and his Band
Hear it and
other new I‘l-
lea: I Friday
night at: 5:00 a

KDIC 88 FM

McNAllY’S

SUPER UALU

PLAY LUCKY NUMBER
WIN UP TO $300

Convenient Hours
7 a.m.—'II p.m.
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1021 Main

 

